Performing a Choric speech
that enables the audience
to see, hear and feel the
scene being described

Here the Chorus sets the scene for the famous battle at Agincourt. It is night; preparations are underway for the fight in which the weary English under King Harry are fearfully outnumbered by the French. The Chorus contrasts the wretched, anxious English host with the fresher, confident French as they sit by their campfires. As with the earlier speeches of the Chorus, the actor should concentrate on presenting the mass of information clearly and straightforwardly. There should be conveyed a clear contrast between the wretchedness of the English men and the unfounded confidence of the French.

On the Elizabethan stage (as in the audition room), the actor is working without the benefit of lighting and set, and so must create sight, sound and atmosphere with words alone. Shakespeare has provided those words and the actor must make full use of them. Phrases such as “creeping murmur,” “foul womb of night” and “the fixed sentinels almost receive/The secret whispers of each others watch” need to be used to the fullest.

Key to the Piece: The actor must use every verbal weapon in the armoury: invoking sounds through repeated vowels and syllables, finding the variety of the silence and hum with the blare of steed answering steed and the sound of the armourers. Above all, the actor must relish the language to the fullest.

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Language / Message vs Character

	Play:	Henry V
	Scene:	IV, 0; 1 – 28
	Character:	Chorus
	Setting:	Prologue
	Raphael was destined to become a performer as his first exposure to theatre started at 6 days old when his father, a light and sound technician, brought him to work with him. He attended F.A.C.E and further developed his passion for acting and the stage. He performed the roles of Prospector in The Madwoman of Chaillot directed by Jim Stiller and Harry Brewer in Our Country’s Good directed by Jesse Todd, where he received special recognition for his performance. Raphael later played the key role of Septimus Hodge in Arcadia and that of Bud Stamper in Splendor in the Grass, followed by a compelling performance as King Edward IV in Shakespeare’s Richard III directed by Winston Sutton.

 
Now entertain conjecture of a time
When creeping murmur and the poring dark
Fills the wide vessel of the universe.
From camp to camp through the foul womb of night
The hum of either army stilly sounds,
That the fixed sentinels almost receive
The secret whispers of each other’s watch.
Fire answers fire, and through their paly flames
Each battle sees the other’s umbered face.
Steed threatens steed, in high and boastful neighs
Piercing the night’s dull ear, and from the tents
The armourers, accomplishing the knights,
With busy hammers closing rivets up,
Give dreadful note of preparation.
The country cocks do crow, the clocks do toll
And the third hour of drowsy morning name.
Proud of their numbers and secure in soul,
The confident and overlusty French
Do the low-rated English play at dice,
And chide the cripple tardy-gaited night,
Who like a foul and ugly witch doth limp
So tediously away. The poor condemnèd English,
Like sacrifices, by their watchful fires
Sit patiently and inly ruminate
The morning’s danger; and their gesture sad,
Investing lank lean cheeks and war-worn coats,
Presented them unto the gazing moon
So many horrid ghosts.