Richard III - Old Vic Theatre

Richard III

The Old Vic -24th August 2011

           Hype is a concept I don’t like; with hype often comes disappointment, but in the case of Richard III directed by Sam Mendes with Kevin Spacey in the lead, never has a production in my opinion, lived up to its hype more so. Spacey’s Richard III was at times as vulnerable as he was repulsive, although a truly abhorrent protagonist Spacey introduced a humour and subtle vulnerability to Richard that made him completely watchable and unnervingly endearing. Combine this with a fantastic ensemble and a distinctive directive style and this production becomes one of huge power and excitement, and certainly worthy of its sell-out status.

          The histories are by no means easy going; dialogue heavy and (dare I say) dull, they are a theatrical challenge, yet this production in its entirety was captivating. Mendes' use of a simple, bleak space, devoid of colour and distinction enabled the dialogue and the characterisation to take precedence. Through the contemporary costumes, performance techniques and use of multimedia this performance was immediately propelled into the present day. Whilst watching Buckingham address the audience he embodied a politician, with a wry smile and incomprehensible political babble. The feuding families ‘overcome’ their differences in a staged handshake; their false sentiments captured on camera (Richard Duke of York ‘likes’ this . . .)Richard addresses the baying crowds via screens in which he is spoon-fed words and feigns sadness; Mendes exemplifies the worrying ubiquity of the mass the media and its ability to manipulate the truth when it suits; making this production of Richard III so relevant in today’s political climate. Proving to critics of Shakespeare (I am a self confessed Billy-hater) that he still has a place in modern and progressive theatre.

         The ensemble cast make this production the theatrical power house it is, the male performers brought a boisterous, petulant energy that is beautifully juxtaposed with their strong and defiant female counterparts. Few scenes were more impressive than when the ensemble were on stage together, the dialogue was exchanged like music, punchy and expressive and exaggerated through the use of  percussion that became the heartbeat that punctuated the action.

         The final image is a stroke of horrific genius, with Richard III suspended above Richmond. The first use of colour; the red of his jacket and the blood dripping from Richard’s hanging body irrevocably binds the two together, as all enemies are in the barbarity of warfare. This moment becomes the crescendo in a performance of subtle nuance and growing tension. To say this final image was haunting is to belittle what Mendes achieved, as harrowing as it is in the context of the production it’s real strength comes in the way it resonates with the spectators; it is impossible to avoid the parallels with the ‘villains’ of today; Saddam Hussein’s hanging, Colonel Gaddafi’s decadence, Osamba Bin Laden’s mediated assassination, all of these images were conjured up in these closing moments, images that are all too familiar to a contemporary audience. Sky News can be turned off but this living moment cannot, leaving the spectators with this last haunting thought, and haunt it does.

           To see Spacey on stage is to see him at his finest, I urge you to queue, to beg, to borrow, to steal a golden ticket to this production, it will be money well spent for a few invaluable moments of theatrical magic. Haunting imagery, compelling performances and truly exceptional theatre; Shakespeare still has it and has Spacey and Mendes to thank.