Review: RICHARD II, Bridge Theatre

Photo credit: Manuel Harlan

Shakespeare’s 1595 history play, Richard II, is a wordy tale written in verse about the nature of Kingship and the family rivalries and alliances that surround the head of the dynasty that holds the title, King. Jonathan Bailey plays the central character around whom all of the political shenanigans revolve, capturing his mercurial character. Believing in his god given right to be King, he plays the role to suit the moment; sometimes mischievous, sometimes vain, sometimes proud but ultimately without his “hollow crown”, he is lost without purpose or reason. It is an excellent performance, spoken with great clarity and precision, varying the tone to reflect the King’s attitude to the moment. However, it was slightly disturbing to hear the young audience that the actor attracts laughing at unexpected moments in response to some nuanced look or gesture.

The nature of the play means most of the action takes place off stage, aside from a couple of playful fisty cuffs, and its hard to imagine the 16th Century groundlings being absorbed by it. Much more intriguing is the trepidation that those original actors must have felt playing it in front of the court of an elderly childless sovereign concerned over the succession. Indeed, the wonderful programme notes provide invaluable context surrounding this. Here we have a King without an heir, railing against the political classes in a male dominated society who seek to dethrone him in favour of another from the political classes.

Nicholas Hytner’s direction appears intended to attract the younger audience too, dressing the medieval court in modern day suits and ties, like executives in some 21st Century corporate board room but we did not feel that it made the text more accessible or helped to identify the multitude of courtiers more easily. In addition, the jarring jeans and T-shirt of Lord Mowbray, and the brown suit of the Duke of York must have been intended to symbolise something, but we could not fathom it. Nor did the huge modern artillery gun wheeled on to lay siege to Flint Castle add much to the narrative or understanding.

The Bridge’s thrust stage means we never lose sight of the fact that we are in a theatre and Richard’s line “As in a theatre the eyes of men, after a well-graced actor leave the stage, are idly bent on him that enters next” almost becomes the theme of the presentation. The hydraulic lifts that raise furniture up from beneath the thrust do speed up the scene changes but anyone in an elevated seat (most of us) can easily be distracted by the cast and crew preparing for their next entrance in the resulting pits. The wonderful lighting by Bruno Poet does successfully define the acting spaces, creating locations and adding some atmosphere but when it works best is during the pivotal Act 2 Court scene when Richard teasingly accedes the crown to Henry, and we are the courtiers watching on who he addresses. Bailey beautifully captures the torment and indecision as he is forced to give up his god given crown.

There is a fine supporting cast led by Michael Simkins showing all his experience and presence as the Duke of York, Christopher Osikanlu Colquhoun as the steadfast Earl of Northumberland and, with Clive Wood indisposed, Martin Carroll stood in very well as the ageing John of Gaunt. Royce Pierreson is forced to play second fiddle to Richard as the quietly scheming Henry Bullingbrook, never quite convincing that he has the authority to depose the King. Amanda Root impresses as the powerful pleading mother of the Duke of Aumerle (Vinnie Heaven) rushing from tea and cakes at the farmhouse kitchen table to court to plead his case.

This is a political play without the wonderful comic confusions of Shakespeare’s comedies or the strong action and stirring speeches of other history plays, or the drama and horror of his tragedies, but it is a remarkable play as it examines the nature of political leadership. Hytner does not point too obviously to Starmer, Farage or Trump but his modern staging of the play does at least cause us to reflect on the greed and ambition of the political classes who seek power and who will say whatever they think will resonate with their audience to further their pursuit of power, seeking to manipulate a gullible public into accepting them. In Shakespeare’s play, as today, we can only observe the political classes manoeuvring but are left to face the consequences of their actions. It really is quite surprising how Richard II can still provoke such thoughts over 400 years after it was written and hopefully successfully attract new audiences to the Bard’s wonderful verse.

*** Three stars

Reviewed by: Nick Wayne

Richard II plays at London’s Bridge Theatre until 10 May, with tickets available here.