Co-touring with Twelfth Night, The Festival Players once more took to the road with
a lavish, all-male production of Richard
III, directed by Michael Dyer.
The location of Barton’s Mill riverside
garden was a perfect choice of venue for a play such as this on a warm, bright summer’s
evening. The nearby canal, filled as it was with passing swan and paddling
ducks, coupled with the lush greenery of the surroundings and a herd of cows in
the adjacent meadow, gave this Shakespearean piece a countrified feel which was
particularly apt during the final battle scenes set on Bosworth Field.
We begin with a drum and trumpet procession
as we witness the coronation of the new King of England, Edward IV (Giles
Stoakley), surrounded by his court of officials. Richard, Duke of Gloucester,
is left alone as he attempts to seduce and captivate the audience into siding
with this predetermined villainy. David Lee-Jones proved to be an inspired
choice for the title role. Though not evil in the purest sense, he captured the
treacherous, conniving aspect of the character with a wonderful flamboyancy,
without ever resorting to the style of camp theatricality too often associated
with the role. Indeed, his initial monologue in Act One is so underplayed that
one could feel the surprised attentiveness of the audience reverberate through
the air. This was a sneaky but realistic Richard; in spite of the
deformities (he is one-armed monarch in this production) he is not physically
threatening in the grotesque sense, his display of wickedness relying more on
intellectual cunning and superficial charm than eerie malice. This subtle and
sustained approach to the role was highly refreshing and made the audience
cheer him on throughout.
The deceitful plotting was presented
in a stark and vivid manner, from forced imprisonment to murders in the Tower,
all against a permanent backdrop. The throne itself was a small, but impressive,
piece of scenery, acting as it did as the centre-point from which the ensuing
action sprung. Much like the image of the Crown in the 1955 Laurence Olivier
film version, the Royal chair in this production was an omnipotent device
cleverly allowing for the smooth transition between scenes. This basic set
design was embellished by a fantastic array of period costumes, all of which
contributed to the sense of witnessing events within an actual medieval court.
It would not be hyperbolic to suggest
that every one of the six performers stole the show, acting a total of nineteen
roles between them. The two fresh-faced young actors Tom Middler and Anthony
Pinnick were superb (particularly in their respective guises as Lady Anne and
Queen Elizabeth), proving that newly- trained male performers have a
versatility not recognised to the extent that it was in the Bard’s period.
Martin Tomms as Queen Margaret was a
real highlight, her indignant hatred towards Richard being terrifically
amusing, and Scott Smith made a colourfully camp and effeminate Buckingham, his
rich, expressive voice resonating waves of ambitious flattery in an almost
musical manner.
Richard III was, overall, an overwhelming success
and demonstrated exactly what is great about touring, open-air theatre in
Britain. Above all, the Players deliver Shakespeare in a way which is understandable and fun to everyday audiences and utterly engaging from start to
finish.
Liam Elvish
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