Saturday was a sunny spring day, but over a thousand of us from 26 states and two Canadian provinces spent it ensconced within the Guthrie Theater.

There, we experienced one of North America’s destination theatrical events of the year: The official opening of the Guthrie’s “History Plays,” Shakespeare’s trilogy of tales about England’s monarchs between 1398 and 1420. Presented over 13 hours (almost 8½ of them in performance), it likely filled every heart with admiration for the 23-member cast. But I’m betting you’ll appreciate the productions more if you stagger them by days or weeks, allowing time for reflection between performances.

When the Guthrie undertook this same project in 1990, among the actors was Joseph Haj, now the company’s artistic director. As director of this incarnation of “The History Plays,” he’s helped craft quite the artistic achievement, whether examined as a whole or divided by three.

Contributing greatly to its success are the designs: Jan Chambers’ imaginative rotating set is full of staircases, balconies and pop-up set pieces, while Trevor Bowen’s costumes and Heather Gilbert’s lighting enhance the stories but never distract from them. And Jack Herrick’s always engaging score combines percussive Celtic-flavored folk with stately synthesizers.

‘Richard II’

Tyler Michaels King, center, as King Richard II, in “Richard II,” running through May 24, 2024 at the Guthrie Theater in Minneapolis. The theater is presenting Shakespeare’s three dramas encompassing the life and times of key players in the tumultuous English monarchy from 1398 to 1420: Richard II, Henry IV and Henry V. (Dan Norman / Guthrie Theater)

The plays follow the passing of the crown from one English king to another, but Shakespeare’s chief interest is always the interpersonal conflicts and motivations of his characters. His still astoundingly poetic writing is all about examining the nature of being human — in rhythmic, rhyming verse.

“Richard II” is alone in not being a war story — it’s a drama about a political coup — and I found it the most satisfying production of the three. When reflecting at day’s end upon the trilogy’s most impressive performances, the first to mind was Tyler Michaels King’s astonishingly vulnerable portrayal of King Richard as he processes his confusion and bitterness at having his crown taken from him.

He’s prepared for his descent from the throne by a transfixing deathbed dressing-down from Charity Jones’ John of Gaunt — Jones is a voice of stern reason throughout the trilogy — while David Andrew Macdonald lends layers to the conflicted and conflict-averse Duke of York, Jasmine Bracey making a memorable comedic turn as his fury-fueled wife.

‘Henry IV’

If Richard is the most fascinating dramatic character in the trilogy, the comedic equivalent for impact is Sir John Falstaff. This totally fictional character proved so popular with Elizabethan audiences that Shakespeare revived him by popular demand in “The Merry Wives of Windsor.” He’s a raconteur, thief and drinking companion of young Prince Hal, heir to the throne.

Oh sure, there’s a drama afoot about a rebellion against the titular monarch, and John Catron admirably inhabits the perpetually pissed-off Hotspur who leads it. But when the drums of war start beating, you may wish that you were back at the bar with Jimmy Kieffer’s hilariously garrulous Falstaff and the prankster tandem of the young prince (Daniel Jose Molina) and Ned Poins (Dustin Bronson).

Yet when we’re off to war, it’s Falstaff who provides a commoner’s point of view, lacing with dark humor his ruminations on the nature of “honor.”

‘Henry V’

Daniel José Molina, as King Henry V, and Dustin Bronson, as Edward, Lord Scroop of Masham, in “Henry V,” running through May 25, 2024 at the Guthrie Theater in Minneapolis. (Dan Norman / Guthrie Theater)

The most well-known of the three plays, thanks in part to film adaptations by Laurence Olivier and Kenneth Branagh, is basically a war story about a British invasion of France, filled with lots of swordplay and hand-to-hand combat. Kudos to fight director U. Jonathan Toppo, who also plays two roles.

It’s long been held up as a lesson in leadership, as Prince Hal has grown into a military leader who cultivates personal bonds with his soldiers and delivers the most famous pep talk in theatrical history (“We happy few! We band of brothers!”). Molina does a fine job with Henry’s transformation, but the character grows increasingly unsympathetic, especially when one considers this an unnecessary war of his own choosing.

Thank goodness for some comic relief from Bronson as the very silly French Dauphin. And Erin Mackey is a standout as the youngest of the pub retinue, Davy, and the French princess who becomes Henry’s love interest.

If your time is too limited to catch all three, I’d recommend prioritizing by chronology. But each production is a triumph in its own right.

Rob Hubbard can be reached at wordhub@yahoo.com.

‘Richard II,’ ‘Henry IV’ and ‘Henry V’

When: Through May 25

Where: Guthrie Theater, 818 Second St. S., Mpls.

Tickets: $82-$17; three-play package, $189-$66; available at 612-377-2224 or guthrietheater.org

Note: The one-day marathon of all three productions will be repeated on May 18.

Capsule: A monumental achievement best experienced in smaller bites.

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