The nature of Shakespeare means that half of the enjoyment, if not more, is deciphering symbolism beautifully woven in from scene to scene. The original written examples remain as a pleasing homage to the original text, but now opportunities such as this arise to add new choices introduced, inspired by the director’s own understanding of the story.

In the case of Adjoa Andoh, those initial thoughts of violence, war and villainy largely fade in favour of a surprising but incredibly interesting lean towards understanding and sympathy with Richard III, and so we are faced with a surprisingly soft but refreshing and compelling introduction to the world of the play, switching the unforgiving battlefield for schoolyard bullying with themes of community, youth and innocence very much at the forefront and an immediate pang of sympathy is achieved.

The staging seems to be driven by a very personal reading for Andoh, as she takes a fresh stance, asking us to consider what we see comment on colour, race and being pushed to villainy by discrimination. A profound and exciting concept which promises to shed a whole new light on this story, but unfortunately doesn’t really translate in any big way from the programme to the stage.

That’s not to say the show is not enjoyable. On the contrary, the atmosphere begins to form around you immediately. Sounds of nature fill the theatre with your first taste of the exquisite imagery expected of a Shakespearian experience.

Amelia Jane Hankin and Chris Davey somehow manage to create a malleable world which exudes warmth, growth and light one minute and uncontrollable wildness the next, a home which mirrors the characters that inhabit it. Dramatic lighting, assisted by music and impeccable timing, builds tension so much, the release is almost comical. The world is brought to such life that you can see the shifting power move through it.

They use their space expertly. Where stage space lacks, pleasing lighting by Davey brings to mind clear images of surroundings, wide open spaces implied effectively with shadow and light. Where the original text potentially lacks flare, the use of shadows as a storytelling tool packs the punch that is needed. Does it get any more genius than lighting design that uses the power of darkness?

From the start, we are connected to nature and this continues throughout in setting, lighting and costume. A personal touch to Andoh’s outlook which succeeds without question. The performance is quite literally centred around nature, acting as a symbol of power, allowing beautiful feelings, big and small, soft or heavy, to linger on the stage. Not to mention to be used as an excuse for their actions, the natural order of things, the fight for survival, the animalistic urges drawn from Richard as he is treated as such, that final breath that brings us back to nature. Glory, worship, hierarchy but also peace and love.

We are cleverly led through this story with music and harmony, in a style not unlike a folk tale told through traditional ballads. Music follows the feelings of the title character as he gradually descends into madness and we see a fight to the death reduced to art and song, with the acknowledgement that this story of war will become history. This works really well as a creative depiction of the typical themes of Shakespearian narratives.

As a crowd, we are quite literally ‘in on the joke’ when it comes to the secret plans and deception of the play, making for a humorous, casual, natural atmosphere throughout the character’s desperation to succeed without error. It’s a play where the main character admits villainous intent but still has us laughing with him immediately. It is also clear that the audience feels permission to laugh at ridiculousness of some of the plot points, marriages bordering on incest and all. With the exaggerated action on high and the subtly way down low, there’s no shortage of comical scenes.

The highlight of Adjoa Andoh’s performance is in the unspoken moments. Her demeanour and attitude can’t help but grab your attention. She shows fearless commitment and incredible control. From monologues to dialogue is the difference between a cascading waterfall and a still lake. She emphasises every feeling, the silly, the dramatic, the painful. She leaves everything out on that stage. Everything she does has a reason and a meaning behind it. 

The cast perform multiple characters with ease and using some interesting techniques. Though the reason for some techniques are not immediately obvious, they achieve some pleasing movements onstage and give opportunity for some more short comical moments amongst a tragic tale.

The spectrum of emotion, commitment and personality that is showcased on that stage is phenomenal. Though there were some slips on a line or two, their wonderful diction, both in accents and projection, more than made up for it. 

To anyone who is apprehensive about attending, intimidated by the language, we can assure you that the true and amazing portrayal they give you of what can only be described as ‘overcome with emotion’ is enough to convey meaning to even the least experienced of literature lovers. There is not an overwhelming second. In fact, those unexpected bursts make it an all the more raw and truthful experience. So, don’t let that hold you back.

On the other side of things, if you are a Shakespeare fan, know that this performance does indeed have all those iconic tropes that draw you in. Maddening love, powerful depictions of pain and anger, speeches like perfect trains of thought, that poetic pace which quickens as the prospect of danger comes nearer. It’s all there.

**** Four stars

Reviewed by: Louisa Clarke

Richard III plays at the Rose Theatre until 13 May, with further information here.