INTERVIEW: NY Classical Theatre celebrates 25 years with ‘Henry IV’
Photo: New York Classical Theatre’s production of Henry IV stars, from left, Ian Antal and John Michalski. Photo courtesy of Sarah Antal / Provided by The Press Room with permission.
The New York Classical Theatre has reached an important milestone this year. The company, which presents classical works for New Yorkers and visitors to the Big Apple, has been going strong for 25 years, and they show no signs of stopping in 2024. They are currently staging William Shakespeare’s Henry IV outdoors at city parks until July 14. These free performances include stops at Central Park (until June 30), Carl Schurz Park (July 2-7) and Battery Park (July 9-14). During each performance, the audience actually moves locations, which is quite rare. One can actually go for a walk in the park while catching Shakespeare in these lovely outdoor settings.
Ian Antal plays Prince Hal in the production, and he’s been a mainstay of NYCT productions for several years. As an associate artist with the company, he has performed in Romeo & Juliet, Macbeth, As You Like It, A {15-Min!} Christmas Carol and The Seagull, among others. He has also performed with Hudson Ballet Theatre, Jim West Puppet Productions and the Stella Theater in Berlin.
Recently Antal exchanged emails with Hollywood Soapbox. Questions and answers have been slightly edited for style.
What do you love about Henry IV? Is it one of your favorite Shakespeare plays?
I admittedly did not know much about Henry IV before I began working on it and was surprised to find just how well balanced this story is! Especially the cut of the play we are working with for this particular production (which not only incorporates both Part I and Part II, but also must accommodate the time it takes for the audience to change locations throughout the show), brings into relief just how dynamically the story bounces between comedy, action and heart-wrenching tragedy.
It may sound naive, but I never considered this balance to be a central aspect in the Bard’s history plays and find that the pacing of this story flows so naturally and keeps observers engaged.
How do you find an original approach to an often-revived character?
There are unique aspects involved every single time a well-known character is brought to life. First off, every single actor is different and will connect with certain nuances and character traits differently. Then we also need to consider the director’s approach: Every time a play is staged, each director will find different themes they are particularly keen on emphasizing.
In this same vein, many of Shakespeare’s works undergo significant revisions in order to keep the performance time palatable for modern audiences. These tailored versions can change the course of the story, affecting the character development of each character as the world around them is adjusted.
Finally, the current dynamics affecting the world beyond the theater walls can inform a character’s traits and development within the world of the play, as we attempt to hold a mirror up to nature. With that said, it is immensely helpful to review previous performances and “steal” notes and information I may have missed. Even in cases where a different actor’s choice does not necessarily align with my own interpretation, it is still incredibly exciting to be in the privileged position of getting to confidently make an informed decision thanks to their previous efforts.
In short, knowing with 100% confidence that every revival of well-known characters is inherently unique just by virtue of the ever-changing variables surrounding each individual production offers a thrilling sense of calm when gleaning inspiration from previous performances.
What’s it like performing outside in a park space?
Performing outdoors in a public park without a traditional stage space (including seating, dressing rooms, sound and lights, etc.) brings the material to life in a very refreshing way. First off, no two rehearsals or performances are ever the same. As hard as one tries to lock in certain moments and milestones in the storytelling, the controlled environment one works with indoors is simply non-existent in a public park. The notion that unexpected turns of events (ranging from a very enthusiastic off-leash puppy joining a love scene, to police activity taking place just around the corner during a battle scene, to presidential helicopters circling overhead Battery Park while Macbeth delivers his final desperate words) adds a level of electricity to the air before, during and after each performance.
It reminds me so much of the sort of raucous environment one may have observed at the Globe Theatre when Shakespeare’s plays were each originally performed. There’s something very authentic and accessible that comes back to life with this sort of material in a public park. It does demand very specific stylized performance choices, and becoming comfortably acquainted with them takes time and repetition.
For instance, everything must be spoken facing the audience. As a result, the intimacy of looking your scene partner directly in the eyes is completely removed. While this feels very strange at first, it eventually becomes second nature for the performer and goes absolutely unnoticed for the audience members, who are effectively treated to a constant “close-up shot” of each actor on stage at all times.
How important is it to perform classical theater to modern-day audiences?
The most prudent and effective way to progress is by maintaining a strong understanding of and appreciation for our past. Why reinvent the wheel? No story out there is truly new at its core. It’s just the way we share stories that changes over time. The stories classical texts depict are all still completely relatable at their core, and classical masters like Shakespeare, Molière and Chekhov (to name just a very few) had an incredible knack for tapping into the most basic common denominators of the human experience that draw us all together. Their works have withstood the test of time because they were so masterfully constructed and therefore possess the ability to challenge, stretch and tickle minds and hearts in ways that most contemporary work simply cannot.
That is by no means to say classical work is in any way better than contemporary material. It just serves as another unique tool in the gym that theatergoers and arts enthusiasts in general take their spirit to for a deep, cathartic workout.
It’s rare for a theater company to make it to a 25-year anniversary. What’s the magic behind New York Classical Theatre’s success?
Back in 2011 when I had the privilege of joining New York Classical Theatre for the first time for their production of Henry V (which even involved getting on a boat to travel to “France” in the form of Governor’s Island to watch 40 actor combatants vanquish the rude French army in Harfleur and Agincourt), I vividly recall seeing children racing from scene to scene in order to secure front-row seats every time. As I ran with my sword held high, I remember thinking, “In what world do kids race to ensure they don’t miss a single word of Shakespeare?! This company must be doing something right!”
Over the years, I’ve had the privilege of reflecting on this through the course of several productions and have found that New York Classical Theatre is highly successful at creating accessibility for its material. Not only are tickets free of charge (NYCT is in fact New York City’s only all-free off-Broadway theater company), but the process of judiciously trimming down the script in order to fit in the various audience moves into a two-hour show makes the storyline much clearer to audiences that might otherwise be quite intimidated by heightened language.
The other factor that undoubtedly contributes to NYCT’s success is their performance style known as panoramic theater, developed by the company’s founder and artistic director, Stephen Burdman. Thanks to this style, these classical texts come to life in strong connection with their surroundings, transforming the park and the audience into their own characters in the show. This sort of immersion creates gripping, lasting memories for those who join the ride.
Additionally, I would be remiss if I did not include the company’s long-standing commitment to diversity, inclusion and representation. Throughout my time with NYCT, I have witnessed a constant, sincere effort to create a safe and vibrant environment that more accurately reflects the melting pot our audiences consist of.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Henry IV, starring Ian Antal as Prince Hal, continues through July 14 at various parks in New York City. The New York Classical Theatre production marks the 25th anniversary for the theater company. Click here for more information and free reservations.
