Richard III

Synopsis

Kevin Spacey takes the title role in Sam Mendes' new production of Richard III at the Old Vic.

The Old Vic Richard III reunites Kevin Spacey and Sam Mendes as actor and director for the first time since Mendes famously directed Spacey in the movie American Beauty, for which they both won Oscars.

Since launching his tenure as artistic director of the Old Vic in 2004, Spacey's acting credits on this stage have included The Philadelphia Story, Speed-the-Plow, A Moon for the Misbegotten, Inherit the Wind and Richard II.

Richard III brings the War of the Roses cycle of history plays to a close in bloody fashion. Arguably Shakespeare’s most villainous King, we watch in horror and delight as Richard murders his way to the throne, unable to resist his cruel wit and dark humour. This is a hugely entertaining and diabolical adventure that tells the story of one man’s journey to heaven, then back to hell.

In addition to Kevin Spacey the Richard III cast will include Annabel Scholey, Gemma Jones, Haydn Gwynne and Chuk Iwuji.

After the Old Vic the Kevin Spacey Richard III  will tour internationally to Greece, Hong Kong, Spain, Singapore and New York.

We have some great Richard III Old Vic tickets so book early for what promises to be one of the most exciting nights in the theatre this year.

Our Review:

30 June 2011

Alastair Campbell would surely have approved. The former spin doctor, who was in the audience for the opening night of Sam Mendes’ production, must have been nodding as Kevin Spacey’s Richard gave us an object lesson into how to snatch and keep power.

Spacey’s performance is mesmerising; right from the opening scene when he sits disconsolately in a chair, party hat askew while a newsreel detailing Edward's triumph plays in the background. I like the way that "Ilkley Moor Bar T’at" is used as fanfare music for the Yorkists – a nice touch that.

This is a portrait of a bitter man, poisoned with loathing for himself and the world around him but with a delight in black humour. His constant asides to the audience are exquisitely timed – Spacey would make a great stand-up comedian – but he’s also careful not to be too demonic. Richard commands a lot of loyalty from his fellow nobles in capturing power and Spacey’s duke is...

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Latest User Review

Gareth James - 8 August 2011:

I’d have died happy having seen both Anthony Sher’s and Ian McKellen’s Richard III; I will die even happier now I’ve also seen Kevin Spacey’s. If I were to write my memoires of a lifetime of theatregoing, this would be there in both the ‘Great Shakespeare productions and ‘Great Shakespearean performances’ chapters. Sam Mendes production has a cinematic quality and races along at a pace like no other Shakespeare production I’ve ever seen, aided by Tom Piper’s simple but highly effective design. Until Richard’s coronation, it’s contained within three grey walls with sixteen doors; then the back wall is removed. There are so many interesting ideas here, as the play reveals itself to be a timeless study of the psychology of dictatorship. Richard’s journey is brilliantly evoked, from the man-with-a-chip-on-his-shoulder to a fully-fledged tyrant. As we progress he adopts the trappings of autocracy, through to the medal-adorned military uniform & dark glasses. What Mendes & Spacey do is bring out the darkness inside the would-be king; the ruthless, manic intensity is there for all to see. It’s not without its humour, with the grinning asides to the audience and a couple of Hollywood references (Groucho Marx’s cigar gesture and the calls for ‘Stanley’ imitating Oliver Hardy) but the darkness pervades the production. In the scene where the ‘public’ are enticed to champion Richard, the audience is the public and he’s on screen. The battle is conveyed by loud percussion, as the cast join the two off-stage percussionists used throughout. Richard’s dream the night before is superbly staged and the scene where he informs Haydn Gwynne’s Elizabeth that he is to marry her daughter is riveting. This is Spacey’s eighth role on this stage and unquestionably his greatest. He gives the role a menace through the contortions of his humped and callipered body and the way he uses the volume and tone of his voice to convey Richard’s feelings and motivations. The lines direct to the audience draw you in to his inner self. The only problem with such a towering performance is that when he’s not on stage you find yourself waiting for his return. Simon Tisdall’s excellent programme points out the parallels with modern dictators and examines their different backgrounds and motivations through to those recently and currently challenged by the ‘Arab spring’, with Gaddafi the most obvious one. Richard III always seems to be relevant whenever you see it and it certainly is today. This production is yet another fresh and timely look and a thrilling one it proves to be with a leading performance from an actor at the height of his powers. It’s a triumph for the Bridge Project, which will enable 500,000 people in 10 countries on 4 continents to see it. Lucky them. Lucky me. ...

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