Richard
II (RSC) Venue:
The
Pit, Barbican Centre Where: West End
Date Reviewed:
8 January 2001
WOS Rating: Average Reader Rating: The RSC scored a huge hit at Stratford this year
with its History of England plays. This Richard
II is the first of them to reach London and, judging by the standard of the
production, it's not hard to see why the cycle has been acclaimed so highly.
Not only does director Steven
Pimlott have a clear vision for the play, but he plainly points the way to
future plays in the series with details such as the white rose carried by
Richard as the Lancastrian Bolingbroke ascends the throne.
But let's not dwell too much on the future for there's plenty of meat in this
cautionary tale alone. Pimlott begins the play with Richard's “I have been
studying how I may compare this prison….” speech, setting out from the start,
the constraints faced by the monarch. Richard comes to appreciate how isolated
he is, and at the end, Bolingbroke (now Henry IV) takes up the theme.
Ultimately, Richard
II is about kingly power and its limitations, not the flawed personality of
one individual, and it's here that Pimlott really scores.
Sam
West 's flighty, duplicitous, arrogant and overly-gay Richard is almost
unable to comprehend the extent of Bolingbroke's revolt until the last possible
moment. In this production, Aumerle is fashioned as his lover, an interesting
twist, which makes Aumerle's participation in the anti-Henry plot more credible.
David
Troughton 's Bolingbroke, by contrast to Richard, is a blunt populist, a
political brute who's relentless in his quest for power. Reinforcing his rough
and ready direct appeal, Troughton turns repeatedly to the audience, at one
point beseeching all to rise in prayer - it's easy to see how this charmer
persuades the rest of the nobility to join him against an anointed king.
Backing up the two outstanding lead performances are some exceptionally
strong supporting players. Christopher
Saul 's Northumberland is a ruthless and officious bureaucrat and Adam
Levy a militaristically thuggish Percy. My only doubt is over David
Killick 's rather camp York who doesn't convince as someone whose word holds
such sway.
Still, this is a truly outstanding production: an intelligent, well-acted
interpretation of one of Shakespeare's greatest plays. And at a time when the
question of what is nationhood is much debated, it provides plenty of
stimulation for the mind.
Maxwell Cooter
Note: The following review dates from April 2000 and this production's
original run in Stratford-upon-Avon.
This is a wonderful production, but it will not be to everyone's taste. If
you like your theatre to be a charming box of delights with beautiful period
costumes and elaborate sets, then forget it. But if you enjoy demanding drama
which is powerful, intense and challenging, then Steven Pimlott's studio
version of Richard
II is for you.
In a bare white room, the earthen mound of a freshly filled grave, a few
chairs and a crude wooden box (which eventually becomes Richard's coffin) are
the only set. The costumes are present-day, but there is none of the distraction
of fussy 'modern dress'. Both setting and play are stripped down to their bare
essentials. The romantic Richard is gone; this is an analysis of power politics
at its most uncompromising. The story of the deposition and murder of King
Richard II and his replacement by Bolingbroke as King Henry IV is a grim
exercise in realpolitik.
Samuel West is a youthful Richard, imperious in public, indulgent and
relaxed in private with his feisty fashion-model wife and trio of young
flatterers. Bushy, Bagot and Green have rarely been so recognisable - repellent
yuppie lads who lounge and jeer. But when Bushy - wonderfully played by Paul
McEwan - is summarily executed, it's a genuinely shocking moment which
transforms the mood of the entire play.
This is a serious evening's entertainment, and the only laughter comes at the
over-done militarism of Adam Levy's Harry Hotspur. But those laughs die
in our throats when he suddenly murders Bushy in cold-blood with a hand-gun
fitted with a silencer; the soft click making far more impact than any ringing
shot.
The acting is uniformly good, from West's mesmerising Richard and David
Troughton's terrifying Bolingbroke, right through the cast to Tim
Treloar who, in his first year's work in theatre, plays half a dozen minor
roles quite faultlessly. Alexis Daniel as Aumerle, Richard's young cousin
and lieutenant, moves us deeply with his own personal tragedy, in a play in
which there are few characters to admire or to pity.
In the deposition scene, Richard reminds us of the spiritual aspect of
medieval monarchy by wearing a crown of thorns made of English roses. But Henry
Bolingbroke's power is based on arms and military might, against which Richard's
claim to authority by divine right rapidly crumbles.
If anyone is so naive and foolish to believe that politics is an honourable
profession for decent men and women, they should see this play. They'll soon be
disillusioned. This is a Richard
II for the year 2000, Shakespeare at the cutting edge.
Robert Hole
Richard
II opened at The
Other Place , Stratford-upon-Avon, 29 March 2000 (previews from 20 March) and
continued there in repertory until 5 October 2000.
Reader
Reviews
Score
Comment
Date
Despite some strong competition this had to be the highlight of the season -
it rescued the play from medieval prettiness and was completely riveting from
beginning to end. - USER: Whatsonstage.com
08 May 01
Extremely thought-provoking treatment of the play. Sam West and David
Troughton are outstanding, some of the smaller roles are less strong. It is
certainly worth seeing. - USER: Whatsonstage.com
02 Apr 01
This was without doubt the outstanding production of last year by the RSC in
Stratford. Sam West is amongst the most intelligent actors of his generation and
combined with David Troughton, they head a strong cast. This must be seen. -
USER: Whatsonstage.com
28 Mar 01
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