WAR OF THE ROSES,
BLOOMING AGAIN

Five hours fly by in this gripping,
emotionally rich adaptation.

James Yaegashi, Kimiye Corwin, Jon Norman Schneider, and Teresa Avia Lim

William Shakespeare is generally considered one of the greatest playwrights the world has ever known. His plays demonstrate a depth of insight into human psychology, political maneuvering, affairs of the heart, ruthless violence, and the humanity of various social classes that belie his seemingly limited experience as the son of a small-town glove maker. But be that as it may, this is 2026 America. And what can three plays written in the late 1500s about a rather ineffectual English monarch, who reigned in the late 1400s, possibly have to offer a contemporary and complex audience? Well, quite a bit, judging from the sumptuous, precise, bloody, moving, expertly spoken, and deeply engrossing production of Henry VI: A Trilogy in Two Parts, currently onstage at The Public Theater.

John D. Haggerty and Tommy Bo

This National Asian American Theatre Company outing, which opened last night, boasts a powerhouse cast, skillfully directed by Stephen Brown-Fried, who also adapted the three stand-alone plays (Henry VI, Parts 1, 2 & 3) into two parts performed over two nights. Brown-Fried’s judicious editing helps clarify and focus the overall trajectory of the sometimes-unwieldy material, particularly for a modern audience unfamiliar with characters and situations that would have been second nature for Elizabethans. His approach begins with formal historical distance, then steadily gives way to immediate human vulnerability. Aided by stunning, if sometimes overpowering, movement and fight choreography by Orlando Pabotoy and Kimiye Corwin, the cumulative effect for the audience at the finish is that we’ve been through the wars ourselves—or, at least, a really good episode of Game of Thrones. All because of an ambivalent young king, born into the family business, who’d much rather shepherd a flock than run a country.

Kimiye Corwin, David Shih, and John D. Haggerty

Even with the three plays being condensed, there is still much going on. Some of the highlights include England’s loss of hard-won French territories; the rise and fall of impressive leaders like Talbot and York; the ascent and downfall of Joan of Arc; internal court machinations galore; the battlefield death of young princes; a steely Warwick making alliances; the love affair of Margaret and Suffolk; the plucking of those white and red roses; the murder of Henry VI in the Tower; Jack Cade rousing the rabble (prompting one roused rabble to shout the immortal line, “First, kill all the lawyers!”); hearts breaking; peasants pleading; and heads being chopped off. And chopped off. And chopped off. So, yes, it’s a lot.

Teresa Avia Lim and Myka Cue

To help the audience navigate all the sturm und drang, the producers have provided useful online resources on The Public’s website for anyone who wants a little background before diving in. Otherwise, have no fear: the tremendous acting will carry you along, though a bit of preparation will make the story easier to follow. From Teresa Avia Lim‘s powerful Margaret, Julyana Soelistyo‘s duplicitous Richard, Orville Mendoza‘s moving Mortimer, Anna Ishida‘s searing Warwick, David Shih‘s gregarious Edward, Rajesh Bose‘s formidable York, David Lee Huynh‘s complicated Clifford, Myka Cue‘s inspiring Joan, Mia Katigbak‘s loyal Gloucester, to Jon Norman Schneider‘s heartbreaking, fully realized, and excellent Henry VI—every actor in this sixteen-member company shines.

Paul Juhn, Julyana Soelistyo, and David Shih

And where the production shines most is in foregrounding Shakespeare’s text. There’s no inherent apology for talking this much here. The language is embraced, clear, nuanced, and full—we get practically every rushing thought, wit, and logical argument in the writing. This cast is living the words, not just speaking them. dots‘ sparse, anachronistic scenic design—a bare, exposed-brick warehouse with fluorescent lighting, wrought-iron accents, and Asian-inspired wood-and-rope set pieces—keeps the focus on Shakespeare’s text. The striking, grayscale costume design by threeASFOUR, with roots in the samurai era of Japan, also supports the words at hand. The result is that Shakespeare’s language and the actors’ ability to inhabit those images are primarily what make this production much like it must have been for Shakespeare’s audience. The experience is often thrilling, if not telling. When young Prince Edward is slain in front of his mother, Queen Margaret, her lamentations about the inhumanity of killing a child are devastating. Yet, just a few scenes before, she reveled in the murder of the youngest child of her enemy, York, as she taunted him with a handkerchief soaked in the blood of his son. Guess it’s all a matter of perspective.

Rajesh Bose and Teresa Avia Lim

Even with this careful edit, the flaws of Henry VI, Part 1 are not completely overcome. Sitting through five hours of Shakespeare, even split in half, takes some commitment. There are many characters and much exposition, making the first hour of Henry VI: A Trilogy in Two Parts a bit of a slog. But the investment in world-building is well worth it. For, as director and cast move in from an initial arm’s-length view, we start to recognize aspects of our current political turmoil in these ambitious, back-biting, duplicitous, murderous, greedy, stalwart, earnest, and idealistic characters of old. And we feel sorry for them. And maybe ourselves.

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photos by HanJie Chow

Henry VI: A Trilogy in Two Parts
National Asian American Theatre Company (NAATCO) at The Public Theater
The Newman Theater, The Public Theater, 425 Lafayette St. in New York
Part 1: 2 hours 45 minutes; Part 2: 2 hours 30 minutes with include intermission
Tue–Fri at 7; Sat & Sun at 1 & 7 (check repertory schedule)
ends on July 19, 2026
for tickets ($48–$103), call 212.967.7555 or visit The Public Theater

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