Last Updated on October 22, 2025
Ian McKellen shines as the boisterous Falstaff in Player Kings:
Who is the central character in Shakespeare’s historical play Henry IV? Though it may seem as if this question has a simple answer, the reality is far more complex. In this modern adaptation of Henry IV parts one and two, Director Robert Icke has gutted these historical classics, adding a segment of Henry V, to give us the full account of the debauched Sir John Falstaff, one of Shakespeare’s most beloved characters. With Falstaff being played by none other than Sir Ian McKellen, this is not a production to be missed.
While Player Kings principally orbits around our favourite Shakespearean drunkard, Henry IV and Prince Hal do get a look in. The production kicks off with Henry IV’s coronation, which is a sombre affair, even with a live rendition of God Save the King. Henry, played by Richard Coyle, wishes to pursue his interests in the Holy Land, but his immediate troubles are far closer to home. A faction of rebel lords, comprised of the House of Percy, and Edmund Mortimer, Richard II’s originally chosen heir, seeks to depose the King. This takes place while Henry’s son Prince Hal, consorts with London’s criminal gangs.
Away from the sobriety of Westminster, Prince Hal finds his fun in the bacchanalian taverns of Eastcheap, home to all the crims and crooks of London. Worthy of a Guy Ritchie film, the robbers and revellers invade the stage, leaving havoc in their wake. Come morning, Hal awakes bare-arsed, next to a bedraggled Falstaff, appearing to become one with a plush leather chair, a befitting underworld throne.
McKellen coughs, splutters and jeers his way through Falstaff’s comedy, but the familiar melodrama associated with the role is toned down. With a twinkle in his eye, McKellen’s Falstaff is dry, witty and fiendish, even if he does gurgle his words. This Falstaff is not just likeable as a character type but as a person of flesh and blood. The realism of McKellen’s portrayal gives more weight to his fatherly relationship with Prince Hal, who ultimately rejects his criminal ways in order to become the just King Henry V.
Toheeb Jimoh makes for a fine Prince Hal. Energetic, boyish and angry, the Prince embodies the best parts of a coming-of-age story and breathes new life into Shakespeare’s words. Buoyant and lively, he makes a stark contrast to the lethargic Falstaff, but the pair are bonded by their mutual love of a good time.
The set, largely characterised by several layers of non-descript brick wall, shifts and slides to reveal these elements of debauchery. Designed by Hildegard Bechtler, the set cleverly highlights the different elements of Shakespeare’s plays. The tragic and the comic are revealed to only be a hair’s width apart.
Richard Coyle has the unfortunate task of representing the tragedy in this production. King Henry IV dies before he makes it to Jerusalem, and before he sees his son become a good man. Coyle does well to represent King Henry’s severity, whilst also showing genuine concern for the future of England and his son. Only on his deathbed do we see the passion that truly ignites him, a passion that ultimately shifts Prince Hal’s perspective.
The main issue with Player Kings is the length and pacing. Clocking in at just under four hours, it is an epic of a production, even after Icke’s rigorous cutting. The pace felt a little lacklustre, especially in the scenes where Falstaff is absent. But this is perhaps to be expected from a production that has been re-orbited around one character, and in this case, one singular performer.
It is a rare treat that Shakespeare’s prime wag should be played by someone even more beloved than himself, but McKellen delivers a performance that will live on in the eyes of players and critics. At 84, this is the first time Sir Ian has played Falstaff, but there can be no denying that it was worth the wait.
Player Kings at The Noël Coward Theatre:
85-88 St Martin’s Lane
London
WC2N 4AU
Run Time: 3hr 40 mins (including an interval)
Tour Dates:
Noël Coward Theatre | 1 April – 22 June 2024
Bristol Hippodrome | 3 – 6 July 2024
Birmingham Alexandra | 10 – 13 July 2024
Norwich Theatre Royal | 17 – 20 July 2024
Newcastle Theatre Royal | 24 – 27 July 2024
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