After its record-breaking run of Guys and Dolls, the Bridge Theatre had to come up with something special to fill the formidable boots of Nathan Detroit and Miss Adelaide. And they have, with Jonathan Bailey, whose star is definitely in the ascendant, starring in Richard II, Shakespeare’s exciting look at the last year of the king’s life before he was usurped by his cousin Bullingbrook, later to become Henry IV.
Written around 1595, the play is known to have offended Queen Elizabeth I, who saw the characterisation of Richard II as a veiled attack on her good queenly self, and in fact she ordered the scene where Richard is deposed to be removed from the printed text; a scene that remained effectively censored for the next two hundred years. Nothing changes, of course; there are plenty of modern parallels to be drawn from the play, proving once again that Shakespeare is always relevant to the modern era. When Richard insists on shamelessly seizing all John of Gaunt’s assets, I couldn’t help but think of Donald Trump’s plans for Ukraine’s natural resources.
Designing the set, Bob Crowley has gone for a clean, bare stage, challenging us to work our imaginations to provide the intricacies of each location. Modern props, such as microphones, pint glasses, hospital beds and walking aids, etc, confirm the production is set in the present day; frosted glass doors at the back of the set make you think that any minute, Lord Sugar’s going to emerge and give you a grilling. Scene changes are made swiftly and effectively through use of traps in the floor; visually, it’s all very slick. Grant Olding’s incidental music is terrific; all too often unnecessary music can really aggravate and detract from a production, but here, the quiet, moody, unsettling themes really build up the tension, and Olding’s stately regal court themes are a delight.
The production makes excellent use of the entire auditorium, with actors often performing from the aisles, audience seats, and even from Gallery 1. The configuration of the stage in relation to the seats does mean that there are occasional blocking issues. To get a good view of everything going on from our positions in Row C of the Stalls you had to do quite a lot of bobbing your head around other cast members to see the action.
Apart from its modern setting, Nicholas Hytner’s production doesn’t approach the play from any unusual or unexpected angle, it just aims to let the text tell the story for itself, bringing out the characterisations of the main roles. Unlike some Shakespeare plays, Richard II isn’t especially overcomplicated; you’re witnessing an arrogant tyrant cling on to power until the power switches to his usurper, and then you see his importance just wither on the vine. It’s fascinating how loathsome Richard is portrayed in the first part of the play; but once he’s ceded his power to his cousin, you feel strangely sorry for him.
At the heart of the play is the tug-of-war for power, beautifully and simply conveyed in the scene where Richard is required to give up his crown to Bullingbrook; both men grabbing hold of it as if it were some kind of exercise ring, and refusing to let go, in an extremely telling test of will. There are some other notable flashes of directorial brilliance, such as the separate appearances of the Duke and Duchess of York at the locked door, and then their kneeling alongside Aumerle in supplication to Bullingbrook, whilst he wanders around, injecting a spot of comedy into an otherwise bleak sequence. In the famous mirror scene, instead of dashing it to the ground, Richard gives it a head-butt of unhinged fury. Little moments of inventiveness like this keep the whole production lively and unpredictable.
The production is very well cast, although some doubling up of roles can be a little confusing, especially if – like me – you’re not that familiar with the text. Additionally, one of the actors delivers their lines in a rather mumbling fashion which makes them often difficult to understand them fully. But, for the most part, there are many excellent performances to enjoy. Michael Simkins is superb throughout as the Duke of York, long suffering, allegiance-switching; it’s a very thoughtful and intelligent performance. Understudying John of Gaunt, Martin Carroll is also excellent, delivering the famous “royal throne of kings” speech with a heavy heart and the regrets of old age.
Vinnie Heaven is superb as Aumerle, giving a typically charismatic performance as the doggedly faithful Duke, Christopher Osikanlu Colquhoun impresses as the ruthless Northumberland, and there’s excellent support from Amanda Root as the Duchess of York and Olivia Popica as Richard’s sorrowful Queen Isobel. Royce Pierreson is outstanding as Bullingbrook, exuding nobility right from the start, maturing into the clinically firm but fair Henry IV. He has incredible stage presence and provides the perfect opponent for Jonathan Bailey’s Richard II.
However, it is Mr Bailey who is the star attraction in this production and he gives every inch the star performance. Totally believable as the despotic Richard, with his swiftly changing moods, he switches from imperial grandeur to whiny sarcasm within the same sentence. It’s a physically demanding performance and he captures both extremes of the king’s character perfectly – the statesman and the wimp. His vocal delivery is perfect too, always with crystal clear elocution and a stage authority that makes you feel you’re in the presence of someone special.
Selling out at the Bridge Theatre until 10th May – if you haven’t bought your tickets yet, you’d better get your skates on!
Production photos by Manuel Harlan
Four They’re Jolly Good Fellows!
