Review of ‘Richard II’: “This blessed plot, The King shall do it”

Jonathan Bailey returns to the stage in Nicholas Hytner’s latest production of Shakespeare’s historical piece. Guillermo Nazara shares his views on the show, to let us know if this new revival of the Bard’s royal tragedy still holds the power that made him king.

The heart lives for its own demise. No one else like Shakespeare to comprehend the corruption of the human soul through a gripping plot of vanity, conspiracy, and revenge. You may say that all of his tragedies, whether fictional or historical, deal with the same themes. That may be true, to some extent – but that only reinforces his status as a consummate genius, able to make of each piece a stand-alone jaunt of absolute spiritual stir.

In a time where the London scene has been haunted by the not-so-usually-adequate celebrity casting, the Bridge Theatre hosts the return of now television and film star Jonathan Bailey to the old boards. He’s not a newbie. In fact, that’s where his thriving trajectory took off – and you can really tell.

Worldwide acclaimed director Nicholas Hytner resurrects probably one of the Bard’s least revisited plays, presented as a modern political thriller in an in-the-round atmosphere. Past and present blend together in the most impeccable manner, as this striking narrative of treason and survival unfolds before the viewers’ understandably elated eyes.

It works with astounding proficiency. Hytner’s approach, with a highly dynamic use of the scenic space, creates an ongoing cinematic rhythm that builds tone, emotion, and visual awe on its very own.

The staging relies on nothing else but traditional, practical techniques. There are no cameras or screens (thank God) – just a company rising, with infectious commitment, through trapdoors, catwalks, and galleries. Along them, key props construct the full setting, supported by intricate lighting and the occasional, subtle use of scents. No more is needed for the illusion never to break – and more importantly, to drag us, with unclenching grasp, into its sirenly eldritch universe.

Flaunting a remarkable sense of pacing and flow, the entire performance moves at an unblemished cadence all the way through. The cast contributes to that accomplishment with noticeable efforts – bringing the Bard’s piercing words to life through generally compelling performances exuding chemistry, flair, and rapport.

A first mention is earned by Michael Simkins as the Duke of York, delivering his part with galvanizing presence and blaring realism. At the same time, Vinnie Heaven makes a memorable appearance as Aumerle – giving a fiercely energetic rendition put together with ease and prowess. The biggest praise, however, goes to Jonathan Bailey as the protagonist, proving utmost command of his role through a sinisterly captivating take – drawing out the personage’s narcissistic traits through a mixture of menace and humourousness that never falls into camp.

There have been many attempts to make Shakespeare more accessible to a broader audience – some of them leading to an admittedly tempestuous outcome. Drafting an exquisite interpretation in every angle of the material, Richard II reclaims the throne as one of the most enthralling theatrical experiences in today’s London mainstream offer. Haunting, clawing, and filled with mystique, this most recent revival is bound for a far kinder legacy than its eponymous character – resulting in a complete tour de force that’s destined to become the crowned jewel of the month. A perfect example of rejuvinating talent evenly combined with long-lasting expertise, this ripest fruit, however, can only soar.

All pictures credit to Manuel Harlan.

Richard II plays at London’s Bridge Theatre until 10 May. Tickets are available on the following link.

By Guillermo Nazara