Richard III, Trafalgar Studios, London by Leni
27th August 2014 and 2nd September 2014
Trafalgar Transformed's Richard III
Photo Credit: Leni
Photo Credit: Leni
There is something
intriguing about Trafalgar Transformed
that started its first season last year. I had the fortune of seeing The Hothouse starring John Simm and
Simon Russell Beale which was superbly staged and acted. Consequently, I was
happy when I heard the news about the project being continued for a 2nd
season, even more so as not only would Jamie
Lloyd be directing again but also Martin
Freeman would portray the role of Richard
III by William Shakespeare. As someone who takes joy from reading
Shakespeare, as well as being a Sherlockian and a fan of both Martin Freeman
and the BBC production of Sherlock I tried not to be biased when buying tickets
for the play. Originally, I had only planned to see it once but then a friend
stayed in London for a few days and we decided to see the play together. This
time buying tickets with so called ‘stage seating’. What had already intrigued
me when seeing The Hothouse were those 4 rows at the back of the stage,
facing the auditorium. Of course the actors would act mostly towards the main
auditorium though every now and again they would turn around and act towards
the people sitting in the back. The staging itself is sideways, giving both
sides of the auditorium the perfect angle.
Though the play and
the true story it is based upon were originally set in the 15th Century, Jamie Lloyd decided to set his production in the 1970s which was a period of change, corruption and political turmoil. In the actual events
there had been a plot to overthrow the current Labour government. Jamie Lloyd
uses this incident as an opening for his production. In his version a coup d'état has taken place, leaving King Edward IV,
brother of Richard, Duke of Gloucester, on the throne. At the beginning of the
play, Richard, who himself is a deformed hunchback, makes his motives known and
declares his ambition to become a villain, since due to his deformity he ‘cannot
prove to be a lover’. He sets one brother, King Edward IV, against the other, the Duke of Clarence, and lays plots and false accusations in order to ascend the
throne himself. At literally any cost and by any means!
The stage design by Soutra Gilmore resembles an office in a
government building with two long desks facing each other. Both desks are equipped
with microphones, name tags, the likes you see in a committee room. While
sitting in the audience, watching the play, you get the idea of being part of a
committee, of being addressed to by the person who is the Chair.
There are two elevators on either side, playing the appropriate tunes whenever
the doors open. In certain moments, these tunes pull you out of the otherwise
oppressive yet vibrant atmosphere. In a scene in which Richard murders Lady
Anne these tunes playing in the background seem grotesque if not comical.
The costumes focus
mainly on the military nature of the play, turning the aristocrats into
generals. When Richard finally ascends the throne he is clad in a military
uniform fitted out with various decorations. Everyone not in the military is
wearing tweets and dresses in pastel colours (or black in case of mourning).
Due to its length the
play has been abridged to 2.5 hours (including the interval), characters consolidated.
For instance, the murderers of Clarence are consolidated in Catesby and Tyrrel.
The cuts which were made give the play a quick and welcoming pace. There is no
time to rest while the plots that have been laid down by Richard nor the curse
laid on him by Queen Margaret, widow of the late King Henry VI, unfold. The
reason why the murder scene of Clarence comes to mind right now is because of
the way it was staged. In the original play Clarence is stabbed. In Jamie
Lloyd’s version he is drowned in a fish tank (goldfish included*) moments after
he had been telling the audience about a dream in which he drowned. I enjoy
little details like these.
A horse, a horse, my kingdom for a horse!
As written at the very
beginning of this review, I tried not to be biased when seeing Martin Freeman on stage. I find he has a certain way of acting
and expressing himself, a certain body language (if you watch Hitchhiker’s
Guide To The Galaxy, Love Actually or even Sherlock you’ll see what I mean;
he was able to give up on it in ‘Fargo’ though) which in the beginning of the
play, especially in comical moments, made it difficult for me to not see Martin
Freeman but the role he portrayed. Overall he pulls off a terrific Richard with
a demanding presence. He is calculating and manipulative in his actions,
gestures and words and able to snap within seconds from a comical comment to a
serious, even threatening demeanour. The comical side of him is clearly just a
mask, hiding what is underneath: a very power-hungry, ruthless human being. You
laugh at his comical remarks and a moment later feel disgusted and shocked when
he talks about Lady Anne’s death who is sitting right next to him. Lauren O’Neil’s disbelief, barely
concealed fear and terror mirror one’s feelings in that very moment.
Gina McKee as Queen Elizabeth resembles in her performance the impact of the danger
Richard imposes. While strong at the beginning she later crumbles under
Richard’s actions, the murder on her two sons who are the rightful heirs to the throne.
Her desperation is almost palpable, when she is leaving the stage after she has
been confined to a chair by duct tape while Richard declares he wants to marry
her daughter in order to repay her for having murdered her sons.
Jo Stone-Fewings as Buckingham plays an eager supporter of
Richard, blinded by the promise that his loyalty will be rewarded. Other than
Catesby (played by Gerald Kyd) and
Tyrrel (played by Simon Coombs) his
loyalty has his limits which he pays for with his life. He has a strong scene
when finally realising that Queen Margaret’s curse is coming true.
Maggie Steed’s Queen Margaret has a
ghost-like appeal, either sitting beside the stage or at one of the desks
watching the scenery or even lying on the floor as if she doesn’t belong. The
curse she lays on the assembly is more of a declaration
made via microphone which at times make it difficult to understand all what is being said.
Like the character of
Richard III himself the production is rather violent and overall bloody leaving
the audience struck by the dark depths a human soul can inhere. Excellent and strong casting for this production.
Richard III is
performing at the Trafalgar Studios until 27th September 2014.
By Leni
@leni_24601
May I take the opportunity to say a big thank you to Leni for the review where she coherently highlighted the play's contextual themes and the characters as well as production itself. Tickets for Richard III are selling fast and some performances are sold out so if you want to see this acclaimed production best be quick getting a ticket!
*It has since been confirmed by Trafalgar Transformed that goldfish are no longer present in the productions.
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