Richard II






By William Wolf
Wolf's Entertainment Guide
London Theatre Report 2000  
2000




The Almeida Theatre Company's production of William Shakespeare's RICHARD II in Shoreditch at the historic Gainsborough Studios was a highlight of a recent trip to look in on some of what makes theatergoing in London so enjoyable on every visit. Ralph Fiennes was superb in the title role. As the play was also to be presented by the Brooklyn Academy of Music (starting Sept. 6), it was an opportunity to get an advance look. Just being in the Gainsborough, where Alfred Hitchcock made such early films as "The Lady Vanishes," was exciting in itself, the opportunity to connect with a part of cinema history. It reminded me of a visit to Germany when I saw Fritz Lang's "Metropolis" screened with an accompanying orchestra playing a reconstituted score on the very sound stage where the film had been shot.

The production of 'Richard II" itself was impressive for its use of the wide stage creatively utilized by Paul Brown's design and Jonathan Kent's direction to create a sprawling outdoor look. Fiennes skillfully explored the various layers of Shakespeare's characterization of Richard and captured the emotional pain as he fought to hold power yet faced the political reality of defeat. Fiennes's performance was underlined by an especially intelligent approach to the character that heightened the emotional aspects while also addressing the sweep of history engulfing him. It was further evidence of what a distinguished actor he has become.

The play would lack power if there were not a worthy Henry Bolingbroke. Fortunately, Linus Roache was effective in the role and he too tapped into the nuances of the part as King Richard's adversary and the future King Henry IV. One of the pleasures of seeing Shakespeare performed in England is that there is more of an across-the-board quality to the acting than the mixed results often encountered in New York efforts.The overall casting was impressive, save for a few weak spots, and Kent's direction captured the excitement and emotions involved in the struggles depicted and kept one conscious of the historical stakes. Occasionally, fortunately not very often, some dialogue grew faint as a result of the stage width, one of the sacrifices to the bold location of the event. My schedule didn't permit seeing Fiennes do "Coriolanus," the other play presented in Shoreditch as part of the Almeida's notably adventurous programming, and also part of the visit to the Brooklyn Academy of Music (starting Sept. 8 and alternating with "Richard II").




 

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