In вЂњHenry IV, Part 1,вЂќ he played her little brother, Lord John of Lancaster. вЂњIвЂ™m so happy that he wanted to do it,вЂќ Hahn said. For some of us who were in that production, I think we're kind of feeling those Ghosts of Theater Past coming back, so it's been kind of a neat experience.вЂќ Two generationsДЄnother neat experience is again sharing the stage with her 12-year-old son, Jack. and so there are ripples from the 2019 production that resonate now in an interesting way. It's interesting, because when we are walking some of the scenes, I'm noticing that there are moments in this play where we might be in a similar spot on the stage. вЂњBut gender hasn't overtly factored into it that much for me, and that was kind of a surprise. I think the differences are more in the circumstances that the character is in, in terms of having more power, more responsibility, more danger, things like that. вЂњBut something that I've noticed is that the way that I'm playing Henry as a man is not that different from how I played Hal as a woman. we changed pronouns in the script and everything. вЂњAnd so that was kind of an interesting shift from time, because in 2019. Otherwise, there's a lot of plot stuff that just doesn't work,вЂќ she said.

вЂњOne of the key differences this time around is that Adam and I talked before we really got into the process, about whether King Henry would be a man or woman, and with the given circumstances of this particular play, we agreed it was really important that Henry be played as a man. In some ways, KatyвЂ™s been working on this for over four years.вЂќД¬ontinuing Hal/HenryвЂ™s journey is вЂњdifferent, for a few reasons,вЂќ Hahn said.

ItвЂ™s so rare for an actor to have the ability to return to a role and to complete that characterвЂ™s journey. вЂњI love what she found with Prince Hal, which we did play as a woman. вЂњAnd KatyвЂ™s just a fantastic actor,вЂќ he said. вЂњIt provides distance when weвЂ™re talking about warfare, which was a traditionally male-dominated field. To me, exciting things can happen when the theater does non-traditional casting or thinks outside the box, because some of these lines pop in a new way,вЂќ Knight said. вЂњThe chorus gives us permission to use our imagination, to embrace the limitations of theater. You will begin to receive our weekly Hoopla Events updates. The prologue asks audiences to use their imagination with other roles, too, since nearly everyone in the cast of 16 is tasked with playing multiple characters and enacting this portion of the Hundred YearsвЂ™ War in which thousands of French and English soldiers fought each other during the late Middle Ages. ItвЂ™s the story of HenryвЂ™s decision to invade France as the rightful heir to that throne, as well as EnglandвЂ™s, waging the 1415 Battle of Agincourt. The chorus admits we donвЂ™t have the actual Henry here, but we can still tell his story.вЂќ вЂњIn the prologue, the chorus gives us permission to be flexible with casting. вЂњThatвЂ™s intentional,вЂќ said Knight, who also is directing this summerвЂ™s show. This time around, Hahn is tasked with playing Henry V as the king, not the queen. вЂњEspecially in this day when weвЂ™re trying to think about who the next generations of leaders are going to be, it just started to seem very exciting to me to have Hal be someone who in that time, was an unexpected king or an unexpected leader,вЂќ he said, adding that with the scriptвЂ™s feminine language and references, the time seemed right to make the shift. In 2019, director Adam Knight said: вЂњI was interested in a world in which Hal is a change agent, and having Hal not only played by a woman but represented as one is important to me.

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