Famous Victories of Henry V: Scene 6 FV: Scene 6 Director Peter Cockett Author of Annotations Peter Cockett Video Director Holger Schott Syme Video Compiler Peter Cockett Production Company Shakespeare and the Queen’s Men Project Conversion and Remediation LEMDO Team Queen’s Men EditionsQME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE

Released with Queen’s Men Editions 2.0

 University of Victoria on the Linked Early Modern Drama Online Platform

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Queen’s Men Editions

Page written by Peter Cockett. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform.

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 Published file. Added missing persName tag and paragraph xml:ids, proofed. Updated metadata Added metadata and license. Created file from emdFV_video. Original content peer reviewed for QME and added to XWiki by a member of the QME team or a member of the ISE team acting on behalf of QME. The earlier history of this content was not captured in metadata.

My interpretation the Prince’s storyline as a re-imagining of morality drama provided a great challenge for Paul Hopkins (Prince Henry) in this scene where he had to suddenly transform from royal bad boy to penitent prince. Unlike Shakespeare’s Hal, the Queen’s Men’s prince is fully committed to a life of vice before this scene. The SQM performance of this scene therefore enacted a conversion, a spiritual epiphany in which the prince is born new (). Hopkins played the prince as playfully sinful and I wonder, in retrospect, if he might have been played more darkly. Would the original audience have been more likely to disapprove of the Prince’s sinful behavior?

The stage directions in the scene also provide great interpretive challenges for the director and editor. This scene is an excellent example of the fluid economy of space both real and imaginary that characterized the Elizabethan stage. In the SQM productions we tried to create staging that satisfied the majority of the stage directions in the text. The evidence of the stage directions however is confusing and inconclusive. The textual editor arrived at different solutions from those of the SQM company.

 Navigation See Production Credits. Go back to scene index for the SQM production of Famous Victories.