Photo - Caroline Galea (insta: cazza_cam)
RICHARD III
Reviewed by Jacquee Storozynski-Toll
Reviewed by Jacquee Storozynski-Toll
"Shakespeare’s Richard III as you’ve never seen it before"
If you are a fan of Shakespeare, or, even if you are not, I think you will want to see this contemporary, quirky, anarchic and very original production of Richard III. Just pop along to the Rosemary Branch theatre, Islington, where the Godot’s Watch company are performing it.
The play opens with the familiar ‘Now is the winter of our discontent…’ soliloquy, with Richard, Duke of Gloucester, (Sam Coulson) in a dark, smokey gloom. When he walks into the light, instead of the familiar hump back, he sports an unexpected large port- wine stain on his face. This is sometimes given to de Flores as a mark of sin in the Jacobean play, The Changeling. From this moment, all thoughts of the hunchback cripple, so famously performed by Laurence Olivier, are wiped from your mind. Richard’s fascinating monologues, in which he outlines his plans and confesses all his evil thoughts, are central to the audience’s experience. Sam gives a very strong performance and dominates the stage with just a slight dragging of the foot, but mainly by his delivery and stage presence.
The court consists of City Yuppies, the men in dark suits and ties, whilst the women wear black cocktail dresses. They use electronic cigarettes, mobile phones and there is a humorous moment when Richard uses Siri to find someone to kill the princes. Immediately, you realise that this is going to be a very different production.
There is a minimalist set consisting of a large throne chair and horizontal fluorescent lights. These are used to great effect to flash different colours in dramatic moments. There are also strange sounds with ethereal voices, tonal bangs, modern Dubstep music, Zadok the Priest, or even Elvis’s dulcet tones singing, Always on My Mind, as poor Anne Neville (Kate Dobson) dances with her husband, Richard, in the gloom.
Jack Channer and Daniel Harmer, from the Central School of Speech and Drama, designed the technical lighting, and sound, which is used so dramatically. Its imaginative use creates just the right spooky atmosphere, with many scenes being in half- light, then lighting up with flashes, whilst additional sounds at the same time, add to the dramatic impact. This effect provides an unnerving dreamlike feel that keeps the audience intrigued.
The surreal factor continues when Richard, having declared himself King, sits on the throne with his crown. Ghostly bunny girls then appear complete with animal heads.
As there is a cast of eight there is some doubling. I particularly liked the schizophrenic murderer (Michael Rivers) who coincidentally, also played Lord Rivers. He enters listening to music on his headphones, and argues with himself whether to kill Clarence (Richard Patterson). Unlike the death scene with the famous butt of Malmsey wine, this Clarence is killed with a sabre lighting effect. This was a good performance by Patterson, playing Clarence as confused and weak. In addition, the scene’s originality was very clever.
The play opens with the familiar ‘Now is the winter of our discontent…’ soliloquy, with Richard, Duke of Gloucester, (Sam Coulson) in a dark, smokey gloom. When he walks into the light, instead of the familiar hump back, he sports an unexpected large port- wine stain on his face. This is sometimes given to de Flores as a mark of sin in the Jacobean play, The Changeling. From this moment, all thoughts of the hunchback cripple, so famously performed by Laurence Olivier, are wiped from your mind. Richard’s fascinating monologues, in which he outlines his plans and confesses all his evil thoughts, are central to the audience’s experience. Sam gives a very strong performance and dominates the stage with just a slight dragging of the foot, but mainly by his delivery and stage presence.
The court consists of City Yuppies, the men in dark suits and ties, whilst the women wear black cocktail dresses. They use electronic cigarettes, mobile phones and there is a humorous moment when Richard uses Siri to find someone to kill the princes. Immediately, you realise that this is going to be a very different production.
There is a minimalist set consisting of a large throne chair and horizontal fluorescent lights. These are used to great effect to flash different colours in dramatic moments. There are also strange sounds with ethereal voices, tonal bangs, modern Dubstep music, Zadok the Priest, or even Elvis’s dulcet tones singing, Always on My Mind, as poor Anne Neville (Kate Dobson) dances with her husband, Richard, in the gloom.
Jack Channer and Daniel Harmer, from the Central School of Speech and Drama, designed the technical lighting, and sound, which is used so dramatically. Its imaginative use creates just the right spooky atmosphere, with many scenes being in half- light, then lighting up with flashes, whilst additional sounds at the same time, add to the dramatic impact. This effect provides an unnerving dreamlike feel that keeps the audience intrigued.
The surreal factor continues when Richard, having declared himself King, sits on the throne with his crown. Ghostly bunny girls then appear complete with animal heads.
As there is a cast of eight there is some doubling. I particularly liked the schizophrenic murderer (Michael Rivers) who coincidentally, also played Lord Rivers. He enters listening to music on his headphones, and argues with himself whether to kill Clarence (Richard Patterson). Unlike the death scene with the famous butt of Malmsey wine, this Clarence is killed with a sabre lighting effect. This was a good performance by Patterson, playing Clarence as confused and weak. In addition, the scene’s originality was very clever.
Photo - Caroline Galea (insta: cazza_cam)
There was also gender bending which worked in some cases and not in others. Lord Buckingham was well played by Southend actress Elena Clements, as a man in high heels. She is known locally for her work with Southend Shakespeare and together with others in this company, she trained at the Manchester School of Theatre. At the start, Buckingham is merely a cipher, but I thought she was particularly effective when she changed from being just a toady, to realising the fragility of her position. Poor murdered Prince Edward, here, is played as a precocious young girl (Sophie Ormond).
I was not so certain that the gender bending, doubling of Edward IV, morphing into his mother the Duchess of York, without any change of sex, clothes or accent worked as well. This was confusing to the audience, especially if they didn’t know the play.
All the actors used their own native dialects, which made this production contemporary. This modern, fast delivery, emphasised how relevant a play it is, as the political corruption and power grabbing is all too familiar in today’s world.
There was a very effective, stylised opening after the interval. The court draped themselves around the throne like a magazine shoot, and held the pose for several seconds before the action began. This drew the audience in ready for what was going to happen next.
The play revolves around the men with the central figure that of Richard, Duke of Gloucester. However, the supporting women more than held their own, with very competent performances by Avital Lvova as grief stricken Margaret of Anjou, and Katie Norris as the coke sniffing Queen Elizabeth.
I was not so certain that the gender bending, doubling of Edward IV, morphing into his mother the Duchess of York, without any change of sex, clothes or accent worked as well. This was confusing to the audience, especially if they didn’t know the play.
All the actors used their own native dialects, which made this production contemporary. This modern, fast delivery, emphasised how relevant a play it is, as the political corruption and power grabbing is all too familiar in today’s world.
There was a very effective, stylised opening after the interval. The court draped themselves around the throne like a magazine shoot, and held the pose for several seconds before the action began. This drew the audience in ready for what was going to happen next.
The play revolves around the men with the central figure that of Richard, Duke of Gloucester. However, the supporting women more than held their own, with very competent performances by Avital Lvova as grief stricken Margaret of Anjou, and Katie Norris as the coke sniffing Queen Elizabeth.
Photo - Caroline Galea (insta: cazza_cam)
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Photo - Caroline Galea (insta: cazza_cam)
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The final scene where Richard is beaten at the Battle of Bosworth Field has Sam Coulson, calling for a horse. He is standing alone on a deserted stage, accompanied only by weird sounds and voices off. It was full marks to him for making it so believable.
If there was one criticism, the actors were often in profile when delivering speeches, but this was only a minor complaint in an excellent and original production. There are very strong performances by new, young actors who are making their way in the business. If this production is anything to go by, they should make successful careers.
As some liberties are being taken with the script, this might not be for Shakespeare purists, but the young director Sean Aydon has used some very clever ideas and has made the familiar, different. He should be congratulated on producing a very original and creative production.
Tickets are selling like hot cakes and the play continues until Sunday 29th January at the Rosemary Branch Pub Theatre Islington. Tues - Sun 7.30pm- tickets £15 / £12.
Go to the Rosemary Branch Theatre website for more information
If there was one criticism, the actors were often in profile when delivering speeches, but this was only a minor complaint in an excellent and original production. There are very strong performances by new, young actors who are making their way in the business. If this production is anything to go by, they should make successful careers.
As some liberties are being taken with the script, this might not be for Shakespeare purists, but the young director Sean Aydon has used some very clever ideas and has made the familiar, different. He should be congratulated on producing a very original and creative production.
Tickets are selling like hot cakes and the play continues until Sunday 29th January at the Rosemary Branch Pub Theatre Islington. Tues - Sun 7.30pm- tickets £15 / £12.
Go to the Rosemary Branch Theatre website for more information
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Comments from the director- Sean Aydon
I devised the play in this format, and then had to get other people on board. We also held several workshops. I didn’t want Richard defined by the hump, but he needs to be ‘different’. He has to appear evil and as the ‘Other’ he needs to stand out, I thought that the face stain would work. The use of bunny girls indicated that he was all-powerful; as such, he would live a hedonistic lifestyle. This could be interpreted as a dream or a nightmare. I hope to take this production on tour around the country in due course, and possibly perform it at the Edinburgh Festival. |
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Comments from Elena Clements
I have really enjoyed working with this play, as it is very different to any Shakespeare I have done before. I am working with some people I already know from Manchester, but others were new to me. It was interesting doing the workshops to develop ideas. After this finishes, I am in a production of Dario Fo’s One Was Nude & One Wore Tails, with my own production company Theatre of Heaven & Hell at the Hen & Chickens Theatre, Islington. |
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