By Glen Macnow
When William Shakespeare put quill pen to paper to write “King Henry IV, Part 1” back in 1597, we’re uncertain how he envisioned his brilliance being interpreted more than four centuries later.
We’re fairly sure, however, that the Bard didn’t anticipate it evolving into a full-scale hootenanny – replete with banjos, square dancing and foot-stomping Appalachian-style folk music.
But such is the creative mind of Jeff Barg, a PCS regular both on and behind the stage for the last decade, who, with his new production of “The Ballad of King Henry,” has re-envisioned the world of Prince Hal, Falstaff and Shakespeare’s other rich characters in a raucous modern world where the music is closer to Woody Guthrie and Bob Dylan than 16th Century Renaissance Era requiems.
“The Ballad of King Henry,” directed by Mike Sokolowski, runs Mar. 28-April 5 on the Second Stage. This marks the premiere of the full show, which Jeff has been crafting for 15 years.
The idea began when a college friend and fellow Shakespeare enthusiast named Benjamin Kamine challenged Jeff to write a musical off of “King Henry.” It grew in scope and creativity over time, being tested at table reads and small festivals. Another friend, Sally Ollove, joined the project to pare down Shakespeare’s work and incorporate Jeff’s songs.
“To be honest, it’s still evolving,” says Jeff. “Even at auditions and rehearsals we’ve had spontaneous moments from actors and musicians and decided, ‘Yeah, let’s incorporate that into it.’ ”
The odd melding of styles and centuries works, Jeff believes, because the tale of “King Henry” can easily be updated to modern times.
“It’s really a coming of age story for Prince Hal,” he says. “The guy we eventually know as Henry the 5th is a man of the people hanging in bars, not some untouchable royal. He’s a popular and populist figure, so folk music – the people’s music – fits really well.”
The broader connection is that, as challenging as much of Shakespeare’s work may seem these days, back in its own era, it was popular entertainment for the masses. So, hey, let’s add a little harmonica and accordian.
“When I think of folk music,” says Jeff, “these songs are in our DNA. They’re eternal. And that’s what Shakespeare is to our vernacular. How many times a day do we quote something that Shakespeare wrote without even knowing it?”
Jeff has been involved with PCS for more than a decade, starting with his performance in “Spamalot” in 2015. His “nearest and dearest” experience at the theater was playing Lemml in “Indecent” in 2023, “because given what was going on in the country at the time, it felt like an artistic achievement and emotionally very powerful.”
He and Mike became friends during several shows together, as well as being part of a group that occasionally meets at each other’s homes to read scripts. When Jeff shared his idea for this one and saw Mike’s reaction, “I knew he had the right mindset for the project.” Indeed, the two are now collaborating on another idea, a musical adaptation of “The Epic of Gilgamesh,” from ancient Mesopotamia. Expect it to be a real knee slapper.
“Jeff’s got such a creative mind,” says Mike, “so collaborating with him becomes a fun challenge. Listen, I typically hate Shakespeare adaptations that randomly put his works into a place or time period without good reason. But in this one, the original work really fits the location. And the music – which is great – all fits the context of what Shakespeare was writing about.”
Plus, Mike adds, “Jeff already has a great track record.” Indeed, Jeff’s last original work, “The Angry Grammarian” (with collaborator David Lee White) played before large and enthusiastic audiences at Theater Exile and the Arden Theater.
Jeff works during the day as director of communications for OIC of America, a nonprofit founded by The Rev. Leon Sullivan and focused on workforce development and STEM education. When he’s not at rehearsal for this and other shows, he helps PCS in the vital role of writing grant proposals.
So far, two of his applications have resulted in funding to upgrade PCS’s microphones and sound system. The theater is waiting for acceptance on several more. He thanks PCS newly inducted Member Laureate Caitlin Naylor, as well as Governors Ken Locicero and Laurie McLean for their guidance.
“Grant writing involves presenting a case in a way that’s compelling and makes a case that you play a role in the community different from everyone else applying for the same grant,” Jeff says. “It’s not hard to show how our theater is both an artistic and cultural resource for audiences, as well as a place for volunteers on and offstage to come together as a community.”
“The Ballad of King Henry” boasts a cast of 14 actors – all of whom are taking on the challenging of performing a show that’s never played before.
“There are lots of opportunities for improvisation,” Jeff says. “I told them, ‘If you want to invent a harmony on the spot, go for it.’ New dancing has been incorporated – a few do-si-dos here and there. Mike and I are lucky to have found a cast of actors who want to play along with it.”
And there’s a four-piece band (which includes Jeff), playing – count ‘em – eight instruments among them. Continuing the theme of improvisation, actors will occasionally grab an instrument and join in.
“When I look at the cast, the band, the choreographer, the scenic designers, the intimacy coordinators, the production staff, props people – everyone working together for a vision that started with two friends and I – well, it’s thrilling. It’s a big village where everyone is working together for a singular vision.”
And the audience? What does he hope for from the folks who come to see the show?
“I think it’s going to be a show where people will wind up singing along and clapping and stomping their feet. If they leave humming the tunes and smiling, then I’ll know that we’ve succeeded.”