Synopsis At the age of only ten, Richard Plantagenet succeeded his father Edward III as King of England. It was 1377 and a time of great hardship following the Black Death, but Richard lived lavishly at home and, abroad, pursued an expensive and futile war with France. The taxes he imposed provoked the famous ‘Peasants Revolt’ of 1381 and his attempt to rule autocratically alienated both nobility and Parliament. Shakespeare’s loosely historical but theatrically wonderful account of Richard’s last days concentrates on his most fateful error - the exile of his cousin Henry Bullingbrook and the seizure of his Lancastrian estates. Bullingbrook would return to England, topple Richard and take the throne himself as Henry IV, setting the stage for the bloody ‘Wars of the Roses’ between York and Lancaster. The play’s extraordinary beauty and simplicity, and its study of a man reduced from – as he saw it - divinely appointed King, to a mere mortal without role, freedom or friends, put it among the most moving of all Shakespeare’s tragedies.
Trevor Nunn’s modern-dress interpretation of Richard II - the first time he’s tackled this play - takes an unashamedly political stance. Anything that places proceedings in the context of the Middle Ages has been removed – gone is Carlisle’s prophetic speech and Henry’s pilgrimage to the Holy Land. Stripped of such mediaeval fixtures, we’re presented with a 21st-century political fable which concentrates on the seizure and maintenance of power.
Bolingbroke’s succession is more like a coup d’etat as the ruling order is rudely shattered. John of Gaunt’s deathbed speech is not merely an epitaph for a dying England, but a rallying cry for the people. Nunn clearly implies that Bolingbroke doesn’t reach power by accident - his is a clearly planned and implemented takeover.
The regime changes are obvious. The peers in Richard’s court parade in their regalia; Bolingbroke’s entourage are content with lounge suits. Where Richard appears to the strains of “Zadok the Priest”, Bolingbroke uses “Fanfare of the Common Man” – an effective piece of propaganda for someone who is no less royal blood than the king.
The stand-out performance for me is Ben Miles’ Bolingbroke, the consummate player. Looking like a New Labour apparatchik (he even slightly resembles Peter Hain), his is a statesman prepared to use any and every form of spin. But there’s also an excellent turn from Peter Eyre as York, trying to tread the line between loyalty to a king and a sense of what’s right for the country. As John of Gaunt, Julian Glover resembles a political grandee adrift the confines of his club, while anxiously promoting his son’s claims to the throne. And Oliver Cotton’s Northumberland is a smooth opportunist, Bolingbroke’s ready ally.
Naturally, much of the interest focuses on Kevin Spacey, taking on the title character here for his UK Shakespearean debut. While he takes some time to ease into his role, after the interval, he is magnificent, shedding his kingly robes and trappings – not resisting one last chance to sit on the throne with his royal accoutrements as if scarcely able to comprehend the loss of his authority.
I do find the growing obsession with on-stage video cameras and footage tiring. Here, Nunn’s use of clips of modern royal entourages is somewhat strange – the political machinations in this production seem far removed from the royal soap opera.
Like Spacey, this Richard II feels as if it needs some time to get into its full stride. On the press night, there were a few fluffed lines (not to mention a power cut) to contend with. I’m sure the production can only improve as the run continues; even now, it makes me want to see more of Shakespearean Spacey.
I was a bit wary when I read people's reviews of the play (wasn't sure about the modern-day setting, mobile phones/videos and such). But it does work very well - the video footage is excellent and reflects the media attention which dominates modern times.
Kevin Spacey is brilliant - the scene where he gives up his crown is one of the best in the play, very emotional and just fantastic. The supporting cast are all excellent - Ben Miles is wonderful, very commanding and confident, a great opposite the weakening Richard. It is a fantasic, well directed, superbly acted and engaging production! - 194.80.240.66)
16 Nov 05
This is one of my favourite Shakespeare plays - the best productions emphasise the blurred lines between the good guys and the bad guys, and this is brought out by Spacey's affecting portrayal of Richard, coupled with Ben Miles's driven Bolingbroke. I'm surprised to not see more division in the comments so far, as this seems to be the kind of production that would encourage that. e.g. I liked the Handel intro, my partner found it silly and faintly embarrassing. I thought the video sceens were effective, she didn't, and so on. I found it likely that this would be the case across the board. But anyway - overall, I enjoyed this very much, bar the oddly sitcom-like scene in which York learns of his son's conspiracy plans. - 194.80.238.40)
15 Nov 05
For many years I have steered clear of Shakespeare, probably worried that I might find it too "difficult". However, Trevor Nunn's interpretation is highly accessible and of course I was unaware of what may have been left out in order to accommodate the modern-dress adaptation. The use of video clips and the similarity of the court to the present-day House of Commons is very effective and the music adds considerably to the atmosphere. Although this is apparently not one of the Bard's best history plays the action progresses at a great pace and rarely flags over the course of three hours. From the proximity of the third row it was a privelege to watch Kevin Spacey in superb form, particularly during the deposition scene. This is also a generous role as Richard is off-stage for a great deal of time, leaving the limelight to Ben Miles' excellent Bolingbroke. However, Spacey's English accent was very odd - the King sounded like a Gloucestershire farmer with occasional Canadian roots! The pick of an excellent ensemble is Peter Eyre as the Duke of York. Following his electrifying cameo in Don Carlos he perfectly captures a man torn between duty to his country or sovereign, even at the expense of his own son. The scene with his dotty wife (in a motorcycle helmet!) is a rare moment of humour. This is a wonderful production which has deservedly garnered plaudits and fully deserves the packed houses and awards which will surely follow. It is great news that Spacey and Nunn have already discussed further Shakespearean productions for the Old Vic Company. - 62.6.139.13)
14 Nov 05
I really enjoyed this production. Ben Miles stood out although Kevin Spacey did give a superb performance (even if he was one of the campest Kings I've ever seen!!). I loved the use of film footage. Well worth going to see it - 212.158.229.242)
11 Nov 05
It is a well acted production with Ben Miles and Kevin Spacey rightly praised, I was disappointed with some of the cuts made, and although I have enjoyed some modern dress productions of Shakespeare (eg Macbeth). I am less convinced that it works with a history play in particular a play like Richard II. The productions use of video eg Gaunt's speech, and indeed mobile phones only distract. Surely Richard could have arrived back from Ireland…
So although a good production and well worth seeing, I really don't feel that this is one of Trevor Nunn's best productions.
CAA
- 213.86.133.215)
10 Nov 05
I enjoyed this production in the main. Ben Miles was the stand out performance for me. While Kevin Spacey's performance was a long way from bad, I found he lacked a sense of the regal. Bolingbroke was supposed to be the man who was in touch with the people, yet it was he who had the bearing of a King. Spacey's Richard, slouched and sulked, but gave me little sense of the man who truly believed he had a divine right to rule. His accent also had a tendancy to wander, which was a little distracting. I felt the production as a whole didn't quite give enough of an impression of why Richard was such a bad King, and had to go. The scene with his toadies - played in a nightclub - seemed to come and go without making much point.
It also threw up an interesting dilemma over the presentation of Shakespeare's texts. The script was spoken conversationally, which worked well in as far as it made the meaning clear. It was easy to follow and fitted with the style of the production, with the implied sense of today. However, this is a play with some very famous and beautiful speeches. The imagery and poetry was shoved out of the way in a search for utilitarian clarity. That, to me, was a sad loss.
The design and style of the production was exactly what one expects these days. Smart suits, hints of new labour, soldiers dressed in modern army uniforms, with a hint of terrorist chic. In fairness, it's a style that works with these history plays, but it's nothing new. And I found the use of the video screens to repeat important points from earlier speeches - just in case you missed it - a little patronising.
Ben Miles was a revelation. I only know him from Coupling - which was hardly a stretch of his talents. He gave a terrific performance, with a strength and dignity which made his leadership and the way the country turned to him completely believable.
Overall, this production is definitely worth seeing - but not worth paying top price for. - 80.42.40.239)
10 Nov 05
I can not fault Kevin Spacey or Trevor Nunn on this excellent production o Richard II. Although I was a little sceptical about the idea of setting a history play in modern times, it worked incredibly well and I have to say it never grew tedious, unlike other unabridged Shakespeare productions. Ben Miles was also a very strong Bolingbrook. Ultimately, I was inspired by this production and congratulate both Nunn and the cast and wish Spacey every success with his reign of the Old Vic! - 217.40.187.105)
05 Oct 05
Flags a bit in the first half & Spacey doesn't have the necessary degree of vulnerability shown by Mark Rylance in the Globe production last year. However, picked up in the 2nd half, despite the queen's dodgy French accent, as Spacey got more into his stride as the inevitable loser. Bollingbrook is also very good, so score increased accordingly. - 158.234.9.18)
05 Oct 05
I saw the Saturday Matinee and the production received a well deserved standing ovation. The cast is superb and the diction impeccable which certainly makes a change from other recent Shakespeare productions. I was at first a little disappointed that it was in modern dress but quickly got over this as the use of the video cameras and play backs on the wide screen was most impressive. Richard II is a highly political play that can fit any age. As to Kevin Spacey. This fine actor needs congratulating on his first sortie into the works of the bard. He may not be a definitive Richard (Sam West at the Pit takes a lot of beating) but the play is still in preview and I feel that he will fit more and more into the part. I intend to see this play again towards the end of it’s run and look forward to the comparison. - 193.23.116.11)
27 Sep 05
I saw the show on Saturday 24th and, as much as I whole-heartedly agree with the previous reviewer regarding Mr Spacey's genuine desire to lead from the front and invest the Old Vic with a new energy and direction, thereby adding to the London's theatre richness, I can't agree with very much of what was said about the production. This is very much a show in preview still and I had a feeling throughout that Mr Spacey is still trying to find his Richard. There is never a point in the play when you feel that the tide has turned against this king. More to the point, there doesn't seem to be a clear sense of Richard's 'fall' - he seems to lose his temper at being abandoned by his supporters and then decides to give up his crown in a fit of juvenile pique. No tragedy or ruefullness, no sense of loss, just a lot of sulking and shouting. My partner wanted to know if Shakespeare would have us believe that Richard II lost his throne for over-doing the drama queenery... Spacey does a fabulous line in petulance, arrogance and sarcasm and he is without doubt a genuinely gifted performer - I have seen him triumph in both Iceman and Philadelphia Story. He should be praised for all he has done and given up for the London stage and the Old Vic, but this piece shows his limits, and the focus, finesse and deftness required by this part is sadly lacking. The accent varies scene-to-scene, but didn't bother me very much. As with all plays, it is the actual interpretation of the script that should be the defining factor and I didn't understand Mr Spacey's Richard very well at all. I suspect that Mr Spacey doesn't either yet. I found the use of television monitors and screens ineffective and the lighting very patchy. There were some nice pieces used in the soundtrack, but original music throughout would have been far better. Some scene changes need a bit more polish. Despite all of the scratchiness to the piece, Peter Eyre and Julian Glover displayed what can be done by actors who truly understand their characters and manage to get that across indelibly to the audience. Their verse-speaking is superb and they are both excellent. Bravo. The best scene by far (in fact so good, it feels as though it is part of another production) is the parental argument and subsequent royal audience over Rutland's apparent treason - well played and the only scene that succeeds in putting the play in a present-day context. Trevor Nunn is a good director (I'd argue that he is perhaps not the greatest Shakespearean director, as claimed by the previous reviewer) and has injected a strong sense of pace in a difficult piece, so that it at least cracks along - sometimes it is downright rushed..I hope that it grows and finds its focus. - 80.168.178.146)
The Old Vic is one of the oldest theatres in London and famous throughout the English speaking world. Long known as 'the actors theatre', many of the greatest performers of the last century have played on its stage. In September 2004, The Old Vic Theatre Company was launched, under the artistic leadership of Kevin Spacey, to present a wide range of work, from the classic to the new, to appeal to both traditional theatre-goers and new audiences.
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