A Clockwork Richard
⊆ April 24th, 2006 by courtney | ˜By Ronnie Ruff
Richard II – Washington Shakespeare Company
This is not your father’s Richard II or your mom’s — this is a Richard II for those that think many of those that rule are thugs and hooligans albeit with an education and a pedigree. Let it never be said that Washington Shakespeare Company does not take chances or stretch the artistic form of theatre. Robert McNamara whose Scena Theatre currently has mounted Silent Partners at Warehouse Theatre directs Richard II with chilling effect giving the production a Goth like feel while retaining the lavish, essence of dialog that Shakespeare demands.
For those not familiar with the Bard’s Richard II it is a play about power and how absolute power corrupts and changes all that try to harness it. McNamara’s vision of “a brave new world” is a twisted treatment full of tragedy and self destruction. With each political blunder by Richard the intensity grows, when Richard commandeers Henry’s inheritance to fund his unpopular Irish war the people revolt and Henry removes Richard from power, banishes him to prison and takes the throne. The War Of The Roses has begun.
In Richard II we find eerie and powerful acting by Christopher Henley (Richard II) who mimics Richard’s indecisive, manic qualities with seemed ease. Brian Hemmingsen delivers a well conceived Henry but the star of this production is the King and Henley’s portrayal of Richard is simply stunning. Kathleen Akerley’s Queen Isabel is finely textured and reaches a level of sophistication that gels as the play progresses. The entire assembled cast is an extremely talented group. The choreography early in the show had a darkly spiritual feel that became more apparent in the second act — the foot stomps and chants add to the feeling of social change as well as a change in the throne.
AJ Guban’s set resembles a dark prison like structure of grey and white spattered paint, bleak and barren with only a florescent fixture over each door. Wooden strait back chairs line the walls. David Crandall’s sound design consists of a mixture of bone chilling sound effects and deep electronic tones that at times feel like they will bring the set down but never are spoken words unintelligible. Marianne Meadows’ lighting design illuminates the Clark Street warehouse in gothic shadows and bright florescent tubes unlike anything we are accustomed to. Jennifer Tardiff’s costumes are a combination of styles, gothic yet modern and positively unique.
When new treatments are applied to classic works there is a tendency to attach too much importance to the new treatment ignoring the actual performances. The performances in Robert McNamara’s Richard II for WSC are too strong to allow that to happen. See this production to celebrate those performances and let McNamara’s treatment grow on you. This is WSC’s last Shakespeare production at Clark Street; as such it is a fitting end to a long delightful run.
Photos by Ray Gniewek
