A Coroa Vazia

If my father was alive I think he would be giddy to see this because he enjoyed Shakespeare and WW2 movies almost equally. Few household include Shakespeare plays as everyday topics, Marc Anthony's speech when drying dishes and we were fortunate. When Shakespeare questions are asked on 'University Challenge' I find myself screaming at the confused teenagers who were not so lucky.

Granted, 'Coriolanus' was a favorite, but almost all of Shakespeare plays have blood pumping through them and deserve the full treatment of location, mud, costume and conflict so we can absorb the poetry of the script.

This production is likely to open the door to Shakespeare for people who were not given a friendly introduction. As with Opera, some experiences open a door to appreciation and understanding. (mine was the £5 ticket to Covent Garden in 1996 because you only understand what the fuss is about when experiencing a quality, live performance)

To the original audiences, the death of a king was a shocking as the JFK assassination is to us. They enjoyed the glamor, the insight and the drama inherent in power struggles, ambition, just as we do today.

Season 1 - looks at how Henry IV took power, his difficulties with his son and how his son (Henry V) adjusted. Is there anything more timeless than one generation attempting to guide and train the younger? Youthful rejection of everything offered? Recognition too late that the parent was heroic and worthy of admiration?

For some reason, the character of Sir John, penetrated my understanding more when watching this, than ever before. This is likely as a result of my deeper understand as a result of the passage of time.

Season 2 - The third generation (Henry VI) raised without paternal guidance, struggles to keep the crown. The War of the Roses leading to bloody battle. Richard III, was to say the least, ambitious.

The Hollow Crown has an excellent cast.

What distinguishes these hollow crown productions from their predecessors is the crystal clarity of the text as delivered by the cast – well done everyone! It is so easy to fall into the trap of believing that the text is to be delivered as verse. Twaddle! Ideas like that permeate school English classrooms where failed actors teach gullible pupils that iambic pentameters rule. No, they do not! Furthermore, good presentation of Shakespeare is so often ruined by over enthusiasm on the part of the performers. Without wishing to name names, I saw one version of "Much Ado About Nothing" where the comedy in the text was entirely lost because the director and his cast insisted on inventing and adding their own comedy instead. It is a brave man who would want to out-do Shakespeare! The ability of these Hollow Crown productions to tell the story which leads ultimately to the "Wars of the Roses" was admirable. There was so much to say – even before the "Wars" had begun. I should probably watch them all over again….! And I think I will!

I have enjoyed watching the first series and I am about to begin the second set with Henry VI and Edward III.

The acting is impeccable (how could it not with that cast?), the closed-captioning appreciated by a Deaf individual and the battle scenes fascinating and interesting. I am a big fan of historical costuming and valued the work that must have gone into them.

For those who are not fans of Shakespeare this series may not be for you. I did not mind the old language but it takes a bit of getting used to if you are not familiar with it.

I was disappointed to see Charles VI, King of France, wearing the Order of the Golden Fleece during Henry V. This Order was established by Philip III, Duke of Burgundy (aka Philip the Good) in 1430 to celebrate his marriage to Isabella of Portugal. Henry V and Charles VI both died in 1422, eight years before the Order's inauguration.

There's no question of the production values here, and Hiddleston is excellent. But my lord! What a dour, dismal concept! This play is one of the most playful Shakespeare ever wrote. The playfulness lies not only in the relationship between Prince Hal and Falstaff, but also Hotspur and his wife, and even some of his political speeches. (His fury in the initial confrontation with Henry IV is so exaggerated that it can be played comically).

I have never read the dialog between Hotspur and Kate as anything other than play - and indeed, one of Hotspur's better traits is this very modern relationship he maintains with his wife. But the director has unaccountably chosen to treat this interchange as a marital quarrel, as if Kate would actually threaten to break her husband's little finger. Come on.

The staging of Falstaff and Prince Hal is even worse. Shakespeare wrote some awfully good jokes for Falstaff, but you'd never know it in this version. I would not normally presume on Big Bill's intentions, but I am sure he meant Falstaff to be likable, charming, for the audience to be on his side - and Hotspur, too, for that matter. In fact, the audience is supposed to enjoy most of these characters, and be saddened by the necessity Hal feels to reject Falstaff and all the world, and the inevitability of Hotspur's defeat.

The director has the drama right, but he has lost the comedy - and that is the shame. I think it put the cycle out of balance.

Arguably one of the very best screen adaptations of Shakespeare ever produced. They have pulled off what many have tried and failed to do: make good cinema out of the plays. The necessary realism is there, without detracting in any way from the source material. And the acting is for the most part really superb. Hats off especially for Jeremy Irons, David Dawson, Tom Hiddleston and Ben Whishaw. The latter's Richard II far surpasses any portrayal I have seen, both onstage and onscreen.