Hollow ëHenryí Shakespeare Theatre Production Needs Shot of Emotion by Lisa Troshinsky The lackluster historical sourceóthe 16th-century "Holinshedís Chronicles"ófrom which Shakespeare reportedly gleaned some of his inspiration to create "Henry IV, Part 1" unfortunately bubbles its way to the surface in the Shakespeare Theatreís current production. By definition, the playóone of the Bardís historical dramas characterizing the Wars of the Roses between the Houses of York and Lancasteróis of a serious nature. But this production directed by veteran Bill Alexander, who returns to the Shakespeare Theatre for the first time since directing "Troilus and Cressida" in 1992, is unnecessarily dry. The story line is as follows: Henry IV, the Bolingbroke of Richard II, has usurped the throne from Richard II and now carries the guilt of Richardís death and faces rebellion on all sides, most aggressively from young Henry Percy (known as Hotspur). Meanwhile, the king is also deeply concerned about the behavior and moral future of his son, Prince Hal, who spends most of his time in a bawdy tavern. "Henry IV" is the gripping portrayal of basic, universal conflicts: the power struggle between a father and son (king and prince, in this case), and the moral grappling of a young boy as he makes his way to manhood. But this production doesnít take advantage of the scriptís inherent potential for intensity. Save for some intermingled, moving soliloquies from the major characters and unique lighting effects, the production seems to be stuck in the low-key morass one might experience when muddling through a required, parched history assignment. All of the playís action takes place on a sparse, darkened set highlighted by harsh, smoky beams of light. Ruari Murchisonís concept of rearranging simple wooden benches and tables to denote various scene changes and Tim Mitchellís powerful lighting work well in many instances. An example of this is when the audience sees the larger-than-life shadow of Hotspurís wife, Kate, cast on the wall moments before she actually enters the stage. However, the bare bones set and ominous lightingóinstead of being used to hold our attentionófor the most part never let up, which results in a numbing effect after the initial uniqueness wears off. The productionís overall acting is skillful, sometimes outstanding, but predominantly understated. Take for example the interpretation of the notorious Sir John Falstaff, the portly, alcoholic schemer who serves as Halís drinking buddy and father figure. Although Shakespeare Theatre veteran Ted van Griethuysen, cast as "the fat knight," usually can do no wrong and brings incredible stage presence and humor to most of his roles, here he speaks in continuous whispered tones that leave audiences wanting more from his character. Although also muted in this production, the rebellious Falstaff still adds a welcomed occasional oasis of humor in a landscape that is primarily devoid of optimism. Apparently, this productionís more serious portrayal of Falstaff was deliberate on the part of the directors, according to Deborah Payne Fisk, an American University associate professor of literature and performing arts who spoke at the Shakespeare Theatreís "Windows" session in January. "This production has a much darker Falstaff than weíve ever seen before," said Fisk. "Falstaff is always a dark character. In Tedís portrayal Ö he digs out that darkness, so Falstaff isnít just a jolly, drunken knight." Christopher Kelly plays Prince Hal with youthful, sprite, uncomplicated enthusiasm, but his character isnít compelling except during his speech at the top of Act II, when he is finally confronted by his father and he renders a forceful reply (already two hours into a three-and-a-half-hour production). In the end, however, the audience isnít made to feel the deep struggle Hal goes through in deciding what kind of king he should become and in ultimately redeeming himself in the eyes of his ruling and judgmental father. Hotspurís feisty hotheadedness is portrayed skillfully by Andrew Long but is qualified by Longís distracting overuse of hand gestures, which creates the danger of turning his character into a clichÈ. All that being said, this production does have its redeeming qualities. The character of Henry IV himself brings much poignancy to this staging. Keith Baxter portrays the king with gripping sensitivity and nuance, which when juxtaposed with the kingís reputation of unabashedly and violently seizing the throne from Richard, lends a meaningful, layered, ironic quality to his character. Another highlight is the battle scene between the kingís faction and Hotspurís men, which culminates the play. Filled with artful fencing, attention-grabbing sound effects, and smoke and sparks coming out of the floor, itís an engaging climax to an otherwise overly ominous production. "Henry IV, Part 1" runs through March 13 at the Shakespeare Theatre, 450 7th St., NW. Tickets are $16 to $66. For more information, please call (202) 547-1122 or visit www.shakespearetheatre.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.