Shakespeare Plays Available in Video Format
Scholars Online Educational Resources


All’s Well That Ends Well
Antony and Cleopatra
As You Like It
The Comedy of Errors
Henry IV, part 1
Henry IV, part 2
Henry V
Henry VI, part 1
Henry VI, part 2
Henry VI, part 3
Henry VIII
Julius Caesar
King John
King Lear
Love’s Labour’s Lost
Measure for Measure
The Merchant of Venice
The Merry Wives of Windsor
A Midsummer Night’s Dream
Much Ado About Nothing
Richard II
Richard III
Romeo and Juliet
The Taming of the Shrew
The Tempest
Timon of Athens
Titus Andronicus
Troilus and Cressida
Twelfth Night
Two Gentlemen of Verona
The Winter’s Tale

Available versions

1944: Laurence Olivier

1960: Michael Hayes

1979: David Giles

1989: Kenneth Branagh

2012: Rupert Goold, Thea Sharrock

2013: Dominic Dromgoole

2015: Gregory Doran


2013: Shakespeare Uncovered (Season 1, Ep. 5)

Henry V

Henry V is one of the most popular of the history plays of Shakespeare, rivaled only by Richard III, and of the two, it is almost certainly the greater. It is full of drama, of surprising revelations of character, and the action is interwoven with some very thoughtful discussion of all manner of things, including the nature of kingship (once again) and of personal identity.

It also explores the nature of statecraft, the morality of warfare, and the question of whether war can ever be conducted honorably, and opens the question of whether God takes sides in human warfare. With all this, it also contains some of the grandest and most inspiring speeches in the whole of the Shakespeare corpus.

In short, it’s a play that is almost infinitely plastic: it can be played in a thousand ways that will make one character or another more prominent, though of course Henry himself is seldom out of view, and without a good actor carrying that role, the whole production is certain to collapse.

By good fortune, there are several excellent versions of the play that show, by their sheer variation, how many ways one play can be taken. The Laurence Olivier version, made in 1944, after the turn of the tide in World War II, is full of British triumphalism; Kenneth Branagh’s, produced shortly before the first Gulf War in 1989, shows the darker face of war and a more temperate view of the rest. Both are accompanied by spectacularly fine musical scores. In addition, there is one from the BBC Shakespeare sequence, one from the BBC series The Hollow Crown, and one from the Globe series; all these are somewhat more moderate, but each one is an excellent production, and each brings a different aspect of this amazingly protean play — as protean as Hal himself — into focus.