In a mixture of online reviews, with some criticism thrown towards Nicholas Hytner for a “muddled” approach, Richard II appears to divide popular opinion. It is a far cry from Ben Whishaw’s interpretation of the king in The Hollow Crown, which takes on a more traditional form, yet feels more dense to follow. The Bridge Theatre’s adaption is modern with hints of older eras still present in the staging, however its laugh-out-loud moments and Richard’s compelling fall from grace is sure to leave your Shakespeare cravings satisfied.
Jonathan Bailey is electric in his starring role of Richard II, accompanied by a talented cast of Clive Wood as the solemn though tragic John of Gaunt and a strong, ruthless portrayal of Henry Bullingbrook by Royce Pierreson. Bailey commands the stage from the offset, emerging out of darkness with light descending on him, ruling over his court with authority as he challenges the accused treason of the Duke of Norfolk and Duke of Hereford. The comedic effect of the knife-fight scene is exacerbated in the big preparation for it, only to be called off moments into the brawl by Richard calling for exile as punishment.
Bailey’s Richard II is whimsical and unapologetic: snorting cocaine and throwing down a frail John of Gaunt to the ground. He exudes arrogance in signing over his recently deceased uncle’s lands to himself while lounging on his deathbed, drinking the dead man’s water and swiftly moving on to discuss the political affairs in Ireland. However, Richard’s increasing desperation is evident in Bailey’s manic mannerisms, eyes flitting across the stage and into the audience, returning to England from Ireland to kiss the dirty land amongst the rubbish. His fate is already sealed, as he alludes to the history of kings deposed and prophesying his own rapid downfall.
The contrast from Act I to Act II is stark as the pace of plotting has slowed down and is now centred around the conversion of power from Richard to Henry. Bullingbrook now emerges to the stage as Richard once did, taking the reins of the kingdom from him. A scene of a modern courtroom invigorates the second half, as noblemen defend themselves and testify their allegiance to Henry Bullingbrook. Witty wordplay shows Bailey’s Richard struggling to part with his crown: ‘Ay, no; no, ay; for I must nothing be;’, pulling the crown towards him before painfully pushing it away. Here, Richard feels the emotional turmoil of deposition as he returns to a man without title and power.
Undoubtedly, the shining star of the second act is Vinnie Heaven in his performance of the Duke of Aumerle, sauntering with arrogant swagger in defiance against Bullingbrook’s rise to kingship. Yet, his character rapidly descends, physically to his knees, alongside his parents, begging the future Henry IV for mercy from treason. This scene does not disappoint in its physical comedy with their refusal to stand until Aumerle is pardoned from his treason.
The modern staging of Bob Crowley’s set design, encapsulates the essence of each scene, creating grandeur through chandeliers, domestic settings through a wooden dining room table and courtiers sharing gossip over whisky at the bar. In a prison cell, we find a melancholy Richard processing his detainment and questioning his new identity and place in the world in a heartfelt monologue. A striking image of the murdered king’s body bag closes the 2 hours 40 minutes play, leaving the audience stunned and foreshadowing the violence to follow. Bullingbrook seeks forgiveness from the audience and God through pilgrimage to the Holy Land, but whether you can forgive yourself for nudging past an old lady to get a closer look at the Bridgerton heart-throb, is another matter entirely.
Richard II is running until Saturday 10th May 2025. To book tickets please visit: The Bridge Theatre Tickets
Anna Crosland
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