Peoples Republic of South Devon

Richard III - review

July 18th, 2008

Greetings People’s Republicans. Phig Billy here. Last night I had the privilege of attending the latest Shakespeare in the Gardens, a fine tradition established by the Northcott more than a decade ago and always a highlight of the Exeter Festival. This event creates its stage and auditorium in the picturesque wooded moat of Rougemont Castle.

The play undertaken this year is Richard III. Interesting choice, perhaps, for a feelgood festival event, but it guarantees at least one laugh when Richard recalls “When last I was at Exeter/ The mayor in courtesy showed me the castle/ And called it Rougemont”. As a part of the Exeter Festival, Shakespeare in the Gardens understandably aspires to be an upbeat and fun night out, and this production therefore plays down the the truly chilling and sinister elements of the play. It pitches its protagonist more as a deliciously super-evil pantomime villain, who lurches melodramatically across the stage and showers the audience with knowing winks as he so entirely manipulates and bamboozles everyone on his rise to power.

The success of such an interpretation depends on the performance of its lead actor, and fortunately John Killoran proves a magnetic and wickedly charismatic hunch-backed usurper. Looking remarkably like Napoleon Bonaparte, he captivates and effortlessly renders the ol’ iambic pentameter immediate and understandable. He should do: he is an actor of proven Shakespearean pedigree, having spent eight seasons at the RSC. Unfortunately some of the other actors struggle at times not to sound a little flat and uninspired, but to be honest I think the fault lies rather in the writing than the performance. Richard III was written early in Shakespeare’s career, and despite how wonderfully he realized the titular despot, the rest of the characters are a little one-dimensional, and so blind to Richard’s blatant Machiavellian manoeuvrings as to be hard to sympathize with. In terms of engaging with the audience, Richard is also the only character really permitted to speak directly to us, which again restricts our capacity to empathize with the others. This production is at its most successful in the first half, when we are in on Richard’s diabolical double-dealings and laughing with him at how unbelievably stupid everyone else is.

But heaven forbid that I should belittle the obvious talent of the rest of the cast. The supporting cast is called upon to play numerous roles and the actors switch between them effortlessly, skillfully creating easily distinguishable personae through the accents and cadence of their speech as well as their costumes and hairstyles. Furthermore, they are also called upon to provide the play’s soundtrack: they constitute the orchestra as well as the actors, and when not involved in the action they are seated onstage with their instruments furthering the ambience of suspense, horror or melodrama as appropriate. The soundtrack was very prominent in this production, and I found it to be very powerful. But it was mainly so impressive to see them flit between roles of musician and actor, and as an actor flit between parts… No time to be precious and “get into character”; I’m sure Daniel Day-Lewis couldn’t cope!

Finally, the set was simple, well designed and efficient with the choreography. It wasn’t really integrated with the setting of the gardens, but rather used them as a frame for the action. The costumes were also great: lavish and apparently Napoleonic, in keeping with Killoran’s presentation of Richard himself. All in all, it was a really nice occasion, it was immensely enjoyable, and as the latest instalment in a fantastic tradition it deserves your support. This isn’t elitist, academic Shakespeare; this is fun and accessible, superbly crafted but never taking itself too seriously. Go along tonight!

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Entry Filed under: Arts