I recently had the pleasure of chatting with actor Ella Prince, who is currently captivating audiences as Exeter in Bell Shakespeare’s bold new adaptation of Henry 5, directed by Marion Potts. Ella’s portrayal has garnered acclaim, with Time Out Sydney naming them “Bell’s MVP” for their compelling presence and nuanced performance.

In our conversation, Ella shared insights into the physicality and emotional depth of their role, the collaborative creative process, as well as the relevance of Shakespeare’s themes in today’s world. Ella’s reflections offer a glimpse into the dedication and artistry that bring this contemporary reimagining of a classic to life. We also quickly bonded over our shared love of a certain caffeinated drink. 

So, without further ado, here’s Faith’s Top 5 with Ella Prince—let’s get Shakespearean!

1. You’re playing Exeter in this adaptation of Henry 5, which is quite a layered and demanding role. How did you approach the character and bring your own unique interpretation to him?

Obviously, Henry is our protagonist, but for me, it’s a really fulfilling journey to play as Henry’s right-hand man. He’s written as male, and we’re referring to him as male. In the most simple and physical sense, it’s really beautiful to play a male character within this war setting. It’s a very physically demanding piece, and I’m grateful for the opportunity to bring that aspect of my practice to the work.

In terms of the emotional journey, it’s a beautiful and nuanced one in my interpretation. I think he’s really changed by his experience of war, and that’s the most gratifying part of playing him. At the beginning of the play, he’s full of bravado and ferocity, intensely loyal to Henry, and very much within that camp of masculinity, full of forward momentum into war. Then it’s the war itself—the horrors of that experience and what Exeter witnesses—that really changes him.

2. The production has been described as a more physical take on Henry 5, with its focus on the martial aspects of war. How did you prepare physically for this role, and what was it like to embody such a physically demanding character?

I’ve never actually seen a production of Henry 5 so in terms of how it’s ordinarily done, I haven’t had my own experience . The collaboration between Marion and Nigel Poulton, our fight and movement choreographer, in Bell’s approach to this instance has been really exciting. From the outset, Marion was clear: we don’t want literal representations of war. There are no weapons—just our bodies. To have the circumstances of this story projected onto our bodies, is incredibly physically demanding.

Kudos to Marion. She’s selected and intuited a cast of actors who are very grounded in their bodies and quite athletic. She’s taken a real interest in the nuance of each individual, and Nigel has followed suit. What we’ve sought is individuality in movement. Despite wars often being uniform, and military conduct being so rigid, we’ve discovered and embraced the quirks of our bodies. That creates a really dynamic, creative picture, and it’s a beautiful thing to embrace.

In terms of physical fitness, it’s something you have to stay on top of. If you’re not fit when rehearsals start, you’ll become fit because you’re moving so many hours a day. The challenge is maintaining that once the show is on the road. You’re spending maybe two hours—or if you have a two-show day, four hours—in the work, so it’s about keeping yourself fit outside of that as well.

3. Bell Shakespeare’s work often invites us to see the old anew. Was there a moment in rehearsal where something clicked for you about Shakespeare’s language or a line from Exeter that suddenly felt startlingly contemporary?

I think what’s been most transformative for all of us in rediscovering this work is making it contemporary. We’ve done that through collaboration—the creatives, performers, and crew. There’s a real awareness and worldliness among us; we’re all well-travelled with diverse cultural backgrounds. There’s been openness in discovering and sharing those experiences, which has brought a real immediacy to the work.

In terms of the text, for me, every night, Henry’s Saint Crispin’s Day speech—”Old men forget; yet all shall be forgot” and “From this day to the ending of the world”—really resonates. It brings me into the now, being present with an audience, knowing this moment will pass, that everyone in this room will pass, and recognising the value in storytelling. It also reflects on the realities of our mortality and how we choose to live and connect with one another.

4. Shakespeare’s Henry 5 has always sparked debates about leadership and heroism. Given the current world stage, what do you think this play still has to say about power, leadership, and conflict today?

You wake up every day, read the news, and experience the horrors of that. What Marian and JK ( JK Kazzi who plays Henry) have explored in their interpretation of Henry is all the shades of grey. We’re not representing a man who is only good. The moment when he says, “Let every soldier kill his prisoner,” reflects the ruthlessness of war.

It’s about how we choose to follow our leaders, if we choose to, and how we contend with the morality, or lack thereof, of doing so. Our reading is that there’s no simplicity to history. We’re not presenting a war hero with this play. Everyone within the cast and creative team is vehement that there are no winners in war. War just decimates people, countries, and spirits.

5. Marion Potts’ return to Bell after 15 years feels momentous—and this production of Henry 5 really reflects a sharp, streamlined vision. What was it like working under her direction?  

Marion is fiercely intelligent and has a wealth of experience as an artist. The detail, rigour, and certainty of her practice, and the people she brings close to collaborate on the project— that’s just a joy to be around. Having a female gaze or lens on a very masculine piece—dissecting the play and ruthlessly and intently questioning both it and the men in the piece is an essential thing for theatre now.

I think theatre is only relevant if it’s brought into the now. I think it’s exciting wherever you can find the discomfort—and, interestingly, the conflict—in presenting a piece like this, and how it does or doesn’t align with your own values. Discomfort is a really beautiful thing because it starts a conversation. Marion is not afraid of having that conversation. She’s a really incredible artistic leader.

BONUS QUESTION:  What’s the one question you were hoping I’d ask and what’s your answer ?

What can’t you live without?  

I love a good coffee and I love travelling around cities, hunting it out. That’s a joy for me. It actually brings me so much happiness—sitting in a cafe in the morning, quietly sipping my coffee. I feel so grateful to be alive in those moments. It’s the fuel to my fire.

Henry V is currently on tour across Sydney, Wollongong, Canberra, and Melbourne. For the full schedule and ticket information, please visit https://www.bellshakespeare.com.au/henry-5

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