The West Yorkshire Playhouse’s adaption of Shakespeare’s Richard III is likely to be one of their biggest draws this season, as it should be. After all, Shakespeare can be argued to be the linchpin of theatre and will always attract audiences for this alone, if not for the richness of story and character promised in any Shakespearian work. Director Mark Rosenblatt’s production reaches for the heady heights of murder and manipulation in a modern setting, and mostly rises to the occasion.
Richard III is the bloody tale of the historic Duke of Gloucester, who systematically and ruthlessly removes all obstacles in his way in order to be next in line for England’s throne – which includes murdering his own brothers, and infamously the young princes in the tower. Needless to say, WYP’s production is intensely dark. Set forward in what appears to be the 1940s, it cleverly hints at the fascist elements of Richard’s reign. The opening set, featuring a large drain swimming in blood, sluiced away by masked figures, creates a strong opening image; suggestive of the stark terror the play is awash with. Set designer Conor Murphy uses the WYP’s round theatre in innovative ways. Large grey backdrops open and close narrowly, making the space feel claustrophobic, whilst descending lighting rigs and white sheets create prisons and isolated rooms effectively. Small spotlights succeed in creating the sense of intense scrutiny the characters are under both from the audience and each other.
It is in the casting of Wakefield’s own well seasoned actor Reece Dinsdale that the play finds its strength, however. The character of Richard III is nuanced; not only is the actor playing him required to portray disability on stage but also the Duke’s absolute heartlessness, his lurid flirtatiousness and his ability to charm his way to the top. All this is clear in Dinsdale, carrying the play throughout its long running time. There are times where his performance perhaps plays up Richard’s comedic elements too much, rather than his much disturbed mental state, but Dinsdale keeps the character engaging and repulsive in every scene. His lines with young actress Dorothea Myer-Bennett’s Queen Elizabeth create the powerful highlight of the play – cutting, quick and bitterly sarcastic, the two actors interchange keeps the pace quick. Credit is also due to Ben Addis’ sycophantic Buckingham, and Rose Wardlaw’s desperate Lady Anne.
The play falls down unfortunately through its limited cast. Quick costume changes and multi-roling are impressive feats for the actors, but the confusion of characters can make the important distinction between the two houses of Lancaster and York hard to follow, added with the already confusing familial relationships between the characters. The modern setting, although visually pleasing in staging, is not explored fully enough, and inconsistent use of modern devices like the telephone and microphone can feel somewhat misplaced still. There is the overall feeling that the play is still treading the line between a fully realised modern adaption, and wanting to remain true to the historic blood bath Shakespeare created. However, the production is still very much entertaining, nicely stylised, and definitely gruesome enough to leave you thoroughly disgusted.
Richard III runs until the 17th October in the Quarry Theatre, West Yorkshire Playhouse.
Heather Nash
Image: West Yorkshire Playhouse