Richard II review

Richard II may not be the most popular of Shakespeare's plays but this production has certainly drawn crowds. Nicholas Hytner's contemporary adaptation, staring heart-throb Jonathan Bailey, has much to say to the modern audience, whilst maintaining its Shakespearean spirit (and of course language). 

While waiting around in the bar area it becomes clear exactly whom everyone is here for. Conversations involving Bailey's name range from excitement to unmoderated thirst. My concern with this production, was that it would be yet another star-vehicle that left an unfortunate bitter taste in the mouth. That the cult of celebrity would again scupper an otherwise great play. On this occasion I may have misjudged. 

Bailey's performance is strong, impressively so. His approach to this role is perhaps not too far away from his role in Phoebe Waller-Bridge's Crashing, my first and until only other experience of his acting. Bailey's Richard II is bipolar (in the sense he goes between emotional extremes). In almost all of his actions he embodies a kind of camp petulance. His stand-out moments are his speech to ground, the irony of the earth he is delivering it to being littered, and his crown carried in a plastic shopping bag. Additionally, his dynamic and impassioned castle speech, delivered amongst theatre-goers from the Bridge's lower balcony was personal favourite scene. 

However, for me, the petulant child characterisation made it impossible not to draw a parallel with Hamlet. I would love to see him take on the role of the Prince of Denmark as I think that he would do this role a greater justice. 

Bolingbroke, played by Jordan Kouamé was the highlight of the production. His portrayal of a bold and assertive pretender to the throne becomes more tempered in the second half, to provide a presidential, statesman-like presence. Even more impressive when one considers Kouamé is the understudy, taking on the role usually played by Royce Pierreson. This is from my perspective the stand out male performance of the year thus far. 

My understanding is that the direction of this particular staging attempts to emphasise a sexual tension between Richard II and Bolingbroke. With this alternate casting that theme is slightly lost, I believe toned down by Kouamé. For example where a cheek kiss is shared between the two: Pierreson's Bolingbroke is bared chested, Kouamé's Bolingbroke is not. Not a value judgement, but just an observation. 

Both Bailey and Kouamé are supported by a large ensemble cast, all of whom put in a great, but on the whole reserved performance. Michael Simkins as the Duke of York and Nick Sampson as the Duke of Lancaster are perhaps the most notable among them. 

A slightly aggravating aspect of the production was the music. For such a contemporary production the music falls into neo-classical clichés, and in places sounds somewhat "stock" or unoriginal. It is the one thing that feels out of place, and I think that a more avant-garde, forward thinking soundtrack could have greater serviced the production. 

I suppose another slight disappointment is that this is not an "immersive" production as we have come to expect from the Bridge Theatre. The set design is incredibly impressive, but you cannot help but wonder if they could have gone even further. 

There are some rather intelligent artistic choices, such as where cast members "on trial" are situated in the audience, and the house lights are left on. In this scene the audience seats on either side of the stage almost emulate the benches of parliament, and it seems to place emphasis on the importance of our own opinions and judgements. I liked too, the use of frosted glass doors that turned the pleading Duke and Duchess of York into amorphous figures. 

This is a formidable adaptation of Richard II, surprisingly so. As it moves into its second half the play feels incredibly grounded and strong in its artistic voice. The production has its sticking points, but overall I am rather impressed. ★★★★☆