Shakespeare’s Globe, London – until 18 October 2015
Guest Reviewer: Will Clarkson
Simon Godwin hones his focus in on the fallible nature of authority, in a smartly paced production with plenty of humour. His Richard II is an examination of the facets of hierarchy and begs the audience to consider the true origins of power. Is the right of Kings truly a gift from God? Or is it an innate and simplistic ability to rule justly and fairly, possessed of any man willing to seize the opportunity? Therein lies the central conflict between Charles Edwards’ enigmatic Richard and David Sturzaker’s earnest Bolingbroke.
Designer Paul Wills has crafted a technically intelligent set, casing every wall and pillar in a slightly decayed gold leaf. The extravagant opulence of Richard’s court is immediately captured in the garishly blanket plating of every surface, yet the hidden rot of his rule is also reflected in the decay. Just as the surface of the very walls is aged and scratched, so Richard’s personal façade can only last so long. Richard himself, clad as he is in light creams and further gold, often disappears into his own throne, lost in the architecture of his surroundings and blind to the threats of the more darkly clad Bolingbroke, Northumberland and Willoughby.
As Richard, Charles Edwards’ central performance captures the glib swagger of a man raised in a form of regal captivity. We see the young boy crowned in a coronation prologue and in so doing understand Richard’s inability to see beyond the needs of his immediate entourage and desires. He is not inherently selfish, simply a man told since his pre-pubescent years that his actions are the will of God. Edwards is especially strong when physically handing over the crown to Bolingbroke. The former king is reduced to a linen clad waif, not mad, simply unable to fathom the recent turn of events. He delicately portrays the sickened confusion of a man who has lost his spiritual foundation.
Godwin keeps the play motoring along and whilst a couple of actors seem to slightly rush their lines, it gives the production a sense of welcome pace and comedy. Exchanges between Richard and his courtiers are fired off with precise timing and a catty wit. These scheming felines spit snide remarks behind closed doors and in one scene cackle over some odd catwalk-like entertainment. It all feels very ‘high fashion mogul’. There are also some fantastically funny set pieces that lift what could’ve been a rather drab second act. Sarah Woodward and William Chubb, as the Duchess and Duke of York, do fine work on their knees in a farcical squabble over their sons’ misdeeds, whilst the biggest laugh of the night came from a sequence involving as many thrown gauges as you are likely to see in a single scene.
If the production lacks anything, it is perhaps a degree of narrative investment. Sturzaker’s Bolingbroke is likeable and well acted, but lacks that enigmatic zeal that would convince an audience of his ability to rally the disgruntled Lords to his cause. Also, both the Dukes of Richard’s court and Bolingbroke’s eventual sympathisers lack a sense of individual identity. They blur into a mass of camp malevolence and haughty aggression respectively, which robs the play of a sense of character depth.
This aside, Richard II delivers in terms of a charismatic central performance from Charles Spencer and a slick sense of pace throughout. Godwin’s direction has clarity and his deft touch for the light-hearted encourages the audience to find humour in the pomp and reverence of sovereignty, as well as pity for a young boy King doomed by ideals thrust upon him.
Runs until 18th October