David Tennant in Richard 11

A fabulous version , direct from London http://www.sydneyartsguide.com.au/richard-11/ This is a stunning, beautifully – almost magically – designed production, a feast for both the eyes and ears. Gregory Doran’s production is magnificently orchestrated from the opening funeral in a soaring Gothic cathedral with angelic sopranos and musicians to Richard’s abdication which turns into a dangerous tug-of-war over the golden crown with Bolingbroke. As is to be expected from the marvellous RSC it is a lucid, clear and very moving production packed with excellent , striking performances from the entire cast . It preserves the soaring lyrical poetry of the main famous set speeches yet seems written yesterday. It is the first in a new cycle of Shakespeare’s history plays. The bustle and business of a court is enjoyably present in a production that features wimples, trumpets and armour, and rough singing (plus soaring sublime sections of music and verse) . We see a corrupt England, an examination of dynasty and decay. The production has many sycophants and asset-strippers, men who are ripping off the state’s assets. The minute John of Gaunt passes away they dash to grab his coffers and lug them across the stage. The opening scene especially, with Nigel Lindsay’s bluff tough Bolingbroke challenging Antony Byrne’s aggrieved Mowbray – each accusing the other of treason – is developed slowly and methodically .They both eventually appear in full heavy, gleaming armour -extremely impressive . David Tennant as Richard 11, with his long flowing hair and glorious gold embroidered robes gives an extraordinary, mesmerizing performance. He is chameleon like with his huge , very expressive sad eyes, and great vocal control. He brings to life the poetry of the famous speeches (for example his washed –up arrival back in England, and the deposition scene). Presented very sympathetically he is proud and regal , pale and seemingly frail yet also possibly slightly effeminate ( observe closely his relationship with Aumerle). At times ( eg again his return , with the ‘here let us sit ,and tell sad stories of the death of kings) he could be slightly mad . In that speech he moves in a strange sort of spider like way. His parting from the Queen is extremely moving and the tense ,dramatic Deposition scene , angrily confronting Bolingbroke, is thrillingly done .It is a piteous thing to see the downfall of a king and his murder and I liked the idea of his ‘ghost’ returning to haunt Bolingbroke at the end. In the deposition scene he is in white again, defiant and almost John the Baptist like to a degree. Tennant reveals with wily precision the corruption of a man in thrall to his own vanity, seduced by his anointed position and intelligent enough to be aware of this. The self-pitying plaintive monologues are delivered with hints of irony for the most part, shot through with tiny surrenders to momentary abject panic – as though he were at once sufferer and observer of the tragic process whereby, when the royal persona shatters and the naked, insecure person underneath is revealed. As his role becomes increasingly challenging and he is challenged by the pitiless Bolingbroke (Nigel Lindsay), Richard’s hidden doubts about his fitness to rule seep as if from invisible wounds whilst the sub-textual debates – pragmatist v aesthete, philistine v artist – are unspoken . Nigel Lindsay’s Bolingbroke in major contrast is shown as a close cropped ,plain-speaking man who has returned from exile simply to claim his rightful inheritance – though there’s a suggestion in his hooded watchfulness and the ghastly brutality with which he dispatches Richard’s sycophantic followers that he in fact has a long-term nefarious strategy. Bolingbroke plays his cards close to his chest and is at various points embarrassed by Richard, whose upstaging antics leave him having to force face-saving laughter in front of his followers. Deathbed infirmity is ignored by lush, passionate eloquence in Michael Pennington’s magnificent portrayal of John of Gaunt, in a fine, restrained performance and Oliver Ford Davies brings a fine edge of curmudgeonly comedy to the Duke of York’s conscience-stricken flustered appeals. Oliver Rix as Aumerle , moved to tears at Richard’s abdication, is excellent too . Jane Lapotaire as the widowed Duchess of Gloucester, bent and hit with unconfined grief, is tremendous as well . Emma Hamilton brings a lovely grace to the rather small part of Richard’s strong and sensitive Queen . The RSC’s Richard 11 with David Tennant in the title role was at Stratford-upon-Avon from 17 October to 16 November 2013 (previews from 10 October) before transferring to the Barbican Theatre in London on 9 December for a 7 week run and screened at selected cinemas early December 2013 . Running time 200 minutes includes one interval and also has behind the scenes interviews and historical background info to the ‘Wars of the Roses’. Links worth visiting include,-http://www.rsc.org.uk,www.dendy.com.au, http://www.palacecinemas.com.au