Review by Daz Gale
⭐️⭐️⭐️
It’s a big week for Shakespeare in the Capital with two major new productions opening, both featuring star casts. One aspect of Richard II at Bridge Theatre that has got everyone talking is the return to the stage of Jonathan Bailey, whose profile has increased massively since he last appeared in a certain Mike Bartlett play in 2022. Those who have been reading the website for a while now will know how much I loved Jonathan Bailey’s COCK but how would his Dick compare?
This fresh take on Shakespeare’s subtle, caustic and powerful play is helmed by director Nicholas Hytner, whose innovative work on Guys & Dolls at this same theatre still ranks among one of the greatest things I’ve ever seen. The first of Shakespeare’s four plays about the House of Lancaster, it tells the story of the titular Richard II focusing on the last years of his life. As King, he is pretty disastrous – dishonest, dangerous and politically incompetent and seems set on wrecking the country he leads (now why does that sound familiar?)
I always find adaptations of Shakespeare fascinating. With these plays written in the 1500s, you have purists who want to see a faithful recreation and those who long to see something new. I personally sometimes find it struggle to connect with them and an interesting conversation at the Royal Shakespeare Company’s season launch several weeks ago talked about ways to make the language and the classic texts accessible to modern audiences, particularly in schools. Cush Jumbo added to this at the recent Whatsonstage awards, commenting that the production of Macbeth she recently starred in with David Tennant managed to break through somewhat to those that might not usually enjoy a Shakespeare. Why am I citing these examples for a show that has nothing to do with the RSC or that production? Because these are examples of making Shakespeare accessible and that is something I struggled with in Richard II.
This adaptation felt muddled at times, never quite knowing how it wanted to tell the story or how it was going to get there. Attempts to modernise it through clothing and props (including the most random use of a plastic bag you will ever see on stage) don’t always land and lead to more questions than answers in a show that confused me through its lack of cohesive nature and a mixed narrative. Though many elements of the production impressed and were admirable in itself, the execution wasn’t always as precise as you would expect from people with a proven track record. The result left me struggling to follow what was going on in a production that didn’t put enough focus on how to make the text accessible to more people.
There are still touches in Hytner’s direction that demonstrate his skill and flair with staging slightly reminiscent of Guys & Dolls in places – with a catwalk stretching through the main space, surrounded at all sides, elements of the stage rise and fall to reveal new props and effects in a great use of design from Bob Crowley. Light and sound from Bruno Poet and Carolyn Downing gives the production a high quality with James Cousins’ movement direction put to great use as Jonathan Bailey writhes around the stage, carrying himself in ways that reflect his erratic and changeable mood. While Hytner’s direction still thrills in places, again, it lacks the cohesion of his previous work with some choices working and others struggling. The result is what I perceived to be a disconnection with the material which shows moments of brilliance but never quite gets there.
Anyone who saw Jonathan Bailey on stage in COCK or Company will know what a gifted performer he is on stage. He may have reached a worldwide audience with his turns in Bridgerton and Wicked but there is nothing like seeing him on stage in the flesh to truly appreciate his talents as a performer. His portrayal of Richard II once again demonstrates this, with Bailey going big in his choices to deliver a performance that always captivates. Quite extreme at times, the exaggerated nature of the performance leads to heightened emotions with Bailey impossible to take your eyes off of. One key moment sees him appear in an unexpected part of the theatre (I won’t spoil where for those who are yet to see it) in a brilliant use of his talents leaving me hanging on his every word.
This isn’t just the Jonathan Bailey show. Indeed, there are large portions of the play where his presence is nowhere to be seen. Thankfully, the rest of the cast are fantastic enough that it never feels like there is a hole on the stage (apart from when there literally is one). Vinnie Heaven is a standout as Duke of Aumerle, particularly in a climactic scene which builds but never explodes in a great use of tension. Royce Pierreson is another highlight as Henry Bullingbrook with a presence that dominates and plays as the polar opposite to Bailey’s Richard, allowing for some exhilarating scenes between the pair.
This production of Richard II is a tricky one to unpick. Though Nicholas Hytner’s direction has some inspired moments to it, it struggles to reach the heights you would expect. The result is by no means a bad play – far from it, but similarly there is nothing that quite lifts this to the next level. The opportunity to see Jonathan Bailey on stage is enough of an incentive to see this production, however, and he really is blisteringly good in it. It’s just a shame the production is so uneven, it fails to make the most of the talents on offer to them. It may not be able to take the crown when it comes to the best Shakespeare plays opening this year (or even this week) but it is still enjoyable enough.
Richard II plays at Bridge Theatre until 10th May. Tickets available here
Photos by Manuel Harlan