![]() The set consisted of wooden ramps and platforms arranged in different configurations for each scene. The twist was that these gypsies were also tattooed and tie-dyed. The medieval style of the Mexican production harked back to the era of the play's first recorded performances: men in tunics and ragged layers, the king in a golden cloak. Young Mexican director, Hugo Arrevillaga, concentrated on bawdy wit, portraying Hal as an emerging hero and Falstaff as buffoon, while Argentine director Ruben Szuchmacher's darker perspective had the conspiring court shown as faceless secret service men and Hal as a spoilt, overgrown public schoolboy.Īs in much of this season, where the surtitles are synopses rather than translations and the audience may not speak the language of the performance, much work was done through costume design. The two pieces covered similar ground but were handled very differently. ![]() In the Mexican version of Part 1, the lazy borracho took a starring role.Įnrique IV, primera parte was performed by the National Theatre of Mexico, Enrique IV Segunda parte by Argentinian company Elkafka Espacio Teatral. There were also many opportunities for cultural stereotypes to be referenced: the idea that gossips and chantas rule the country was played with in the Argentinian production of Part 2, the arrogant grandeur of the powerful smartly mocked. ![]()
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