'Within the hollow crown'

There was a real buzz as we settled down to Richard II, the first play in this cycle, and also probably the one that I know best, having studied it twice, (and one therefore on which I have very definite views on how I see Richard). This was an excellent production, without it being ‘my’ Richard.

Jonathan Slinger’s Richard was very clearly the personification of Elizabeth I, ‘Gloriana’, complete with Elizabethan costume, painted face and red wig. Just in case you missed this, it was also highlighted in the programme, with Elizabeth’s famous quote ‘I am Richard II, know ye not that?’

This was Richard not just as actor, but as drama queen, for whom all the world was a stage with himself as leading player. Ultimately his destruction was self inflicted, as he effectively deposed himself. There was no chance that this gilded butterfly could stand up to the might (and the bulk) of Clive Wood’s Bolingbroke.

What this Richard lacked was the insight to make him a tragic figure. In the abdication scene, as he threw off the wig, and wiped the paint from his face, we finally saw the man, but it wasn’t clear who he was. His fall and his death were moving, but not tragic, and his parting from the queen, which has often moved me to tears, didn’t this time, as the relationship between the two just didn’t convince. The shower of sand which fell upon his head during this scene was a stunning visual image, but my head was struggling to attach significance to it*.

Initially I was dubious about the decision to dispense with Exton, and to make Bagot, the surviving favourite, the murderer of Richard, but this decision actually made more sense in later plays, because of the other parts taken by Forbes Masson. I was also disappointed with the speed of Richard’s death, in that he wasn’t given his moments when he truly does fight for his life, (in the play, he kills two of Exton's henchmen) just as he is about to lose it.

Richard Cordery was excellent as York (part of his impressive trio of Dukes), an honourable man torn between loyalty to his king, and his belief in justice, and Lex Shrapnel also impressed as Hotspur, in a part given more focus because of what was to come in later plays.

An excellent start, and great anticipation of what was to come, as we saw a Bolingbroke who was already beginning to bow under the weight of his guilt.

*I’ve since read that it was scouring him of his kingship, but if that’s the case, I’m afraid it passed me by.