RICHARD II (Shake-Scene Theatre Company)*****

 

By Cal

Link: https://www.patreon.com/shakesceneshakespeare

Available until: Unknown

Richard II marks the beginning of a long history cycle which has sadly skipped King John, but he did reign quite a long time before Richard II. The other history plays more or less move from one King to the next. Judging from Shake-Scene’s performance of Richard II, it’s going to be a very exciting cycle. Richard III will not officially be part of this cycle as Shake-Scene have done this play already, but as we haven’t watched it yet, we will be sticking it on the end after Henry VI Part III.

Shakespeare wrote at least one play about every King during this time with the exception of Edward IV and Edward V, whose comparatively brief reigns features in other plays, and Henry VII, who plays a role in Richard III. Henry VIII (who might or might not be included in this cycle) gets a play so substantial that there’s only room for two wives, though Shakespeare’s interest in keeping his head perhaps explains why Henry VIII is left to live happily ever after with Elizabeth I’s mother. (I’m sure I’d have done exactly the same thing. Just not half so well.)

Richard II has been a play I’ve previously struggled with. Richard II isn’t exactly on his best behaviour in the early part of this play when he takes possession of his uncle’s money in highly dubious circumstances. His nephew Henry Bolingbroke reacts about as well as you’d expect, but it’s difficult to support his claim to the throne entirely because whatever Richard II might have done, I’m fairly sure that seven year old Edmund Mortimer, 5^th Earl of March, 7^th Earl of Ulster and heir presumptive, wasn’t involved in Richard’s dodgy dealings (though Edmund’s later behaviour suggests he was never overly keen on becoming King). If he had become King, his heir would have been Richard III, so it does all work itself out eventually. But in the meantime, who do you root for in Richard II?

In Shake-Scene’s brilliant production, the answer is very simple. You’re torn between Richard II and Henry Bolingbroke and it’s really exciting. Richard II, played by the incredible Eugenia Low, might arouse our disgust at the start of the play, but underneath the imperiousness and greed, there’s a hint of humanity which comes out in force later in the play. Richard II has been an idiot. He hasn’t finished being an idiot. But aren’t we all idiots sometimes? His criminality is usually a big problem, but Eugenia’s emotional performance lays bare his fears and regrets and it’s impossible to feel no sympathy at all. I’ve never seen a Richard II more broken and Eugenia ensures we feel that pain too.

But it’s not that simple because we have another brilliant performance from Alexandra Kataigida as Henry Bolingbroke. Right from the start, Alexandra grabs your attention with her intelligent, resolute performance. She commands instant respect both as an actor and a potential future King. Whatever you might feel about the way Henry seizes the crown, Alexandra leaves us in no doubt that he has the potential to lead the country very well.

The other actors play many roles between them and there is so much to enjoy and appreciate. After a series of delightful comedy performances, Dewi Hughes takes the role of John of Gaunt. He brings all his usual animation, stage presence and dramatic commitment to this serious role, only he’s not making us laugh. His sadness about the banishment of his son is amazingly moving.

Angela Bull is a formidable Duke of York, Aryn Mello Pryor’s youthful Hotspur would be a valuable weapon in any Arsenal (non-football fans can be grateful that none of the women in this play are called Chelsea) and you’d never guess from Claire Richardson’s assured performance that she took over the role of Aumerle at short notice. Tim Klotz is a very persuasive Mowbray (I’d have let him stay) and Suzanne Taylor is heartbreaking as the Queen. Matt Williams ensures that Shakespeare more than gets away with bringing in the minor character of Exton at the end to perform a very major act.

Another brilliant production from Shake-Scene and a very exciting hint of what is to come.