Whether the opera is complete enough, at this late stage of its existence, is another matter. The score, as it stands, sets a libretto by the composer from both Parts of Henry IV and Henry V. Plump Jack, therefore, cannot but invite comparison with Getty's notable predecessors, not always to his disadvantage, and we applaud the dedication he has brought to his self imposed task. The result is a score of clarity, colourfully and powerfully orchestrated, spurring the familiar story onward, and in which the words are almost always audible. 

But a price has been paid for cramming so much into such a time-scale. The libretto is too wordy for an opera of this length. Getty gives himself scant opportunity for reflective contemplation and the characterisation, in this of all subjects, is not musically well drawn in the First Act. The Second Act is better in this respect, for by then we know the characters. In avoiding any obviously English colouration Getty relies too much on predictably short-breathed arioso-recitativo, with many similarities in word-setting, when specific melodic expression is called for. The lack of an orchestral Prelude is a serious mistake, as is that of female characterisation. Consider how Verdi solved this latter problem, or imagine what Britten or Korngold might have made of the subject, to get the point.

The Second Act is, in these terms, more successful. Falstaff's rejection by the young King is well accomplished but the old man's death passes by too quickly and the final pages are long drawn-out.