English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

After a successful run at the Royal Shakespeare Theater, Gregory Doran’s productions of Henry the Fourth, Parts 1 and 2 re-opened at the Barbican in November. The plays were beautifully executed, designed, and costumed, with a clarity of presentation that is characteristic of Doran’s directing. Part 1 opened in a church, with Henry (Jasper Britton) prostrate under a huge crucifix suspended from the ceiling. A song about Jerusalem (a repeated motif throughout the production) was chanted, and a Christ-like Richard the Second appeared on a platform above in order to emphasize the guilt that overshadowed Henry’s reign. Despite the king’s genuine desire to go to the Holy Land, a shift of mood quickly arose when Henry heard of the rebellion, then immediately threw his cape back to reveal chain mail and a sword at the ready, making it clear that this king is always expecting war. This gesture was repeated with the final lines of Part 2 when Prince John (Elliot Barnes-Worrell) showed the same readiness to go to war again, throwing back his cape and grasping for his sword. Between these two bookends, the productions of Henry IV presented a world in which the state is a powerful, cruel entity that consumes everyone for its own ends. That is a vision of history that does not shy away from the brutal nature of Medieval politics.

Henry the Fourth at the Barbican