THEATER REVIEW: The Life and Death of King Richard III
Theater
The Life and Death of King Richard III
By William Shakespeare
Conceived by Tony Simotes
Directed by Jonathan Croy
(Founders’ Theatre, Shakespeare & Company, Lenox, Mass., $15-$85)
A Shakespeare & Company production of a play in two acts
Cast, in alphabetical order:
Jason Asprey Lord Hastings
Bill Barclay Sir Richard Ratcliffe
Robert Biggs Lord Stanley
Wolfe Coleman Brackenbury
Johnny Lee Davenport King Edward IV; Lord Mayor of London
Leia Espericueta Lady Anne
Nigel Gore Duke of Buckingham
Elizabeth Ingram Queen Margaret
Zoe Laiz Young Elizabeth
Josh Aaron McCabe Sir William Catesby
Annette Miller Duchess of York
William Palmer Edward, Prince of Wales
Judah Piepho Richard, Duke of York
Tod Randolph Queen Elizabeth
Doug Seldin Lord Grey
Rocco Sisto Duke of Clarence
Enrico Spada Earl Rivers
Andy Talen Earl of Richmond
John Douglas Thompson Richard, Duke of Gloucester, later Richard III
Ryan Winkles Sir James Tyrrel
From the chilling opening tableau of medieval pageantry set to kettle drums to the final moments on the battlefield, as the clanging of swords dies away, the marvelous new Shakespeare & Company production of The Life and Death of King Richard III takes the audience to a vivid, majestic, and dangerous court, seething with political intrigue. And the stakes are high; with this Richard, willing to take any step that brings him closer to the throne, every interaction is a matter of life and death.
John Douglas Thompson begins with the iconic passage:
Now is the winter of our discontent
Made glorious summer by this sun of York.
The seasons are an apt metaphor for this play, as the fortunes of those around Richard shift and change, unpredictable as the weather. Thompson as Richard admits he’s a villain, gleefully taking the audience into his confidence as he shares his plans to take the throne. In wooing the grieving Lady Anne, he is a supplicant one minute, winning her sympathy, and then gloating the next, letting the audience see the motive behind his actions. Thompson is fitted with a hunchback and
he walks with a limp, but neither hinder his dark purposes.
he walks with a limp, but neither hinder his dark purposes.
And therefore,—since I cannot prove a lover,
To entertain these fair well-spoken days,—
I am determined to prove a villain,
And hate the idle pleasures of these days.
To entertain these fair well-spoken days,—
I am determined to prove a villain,
And hate the idle pleasures of these days.
Thompson is appealing enough to win supporters to his cause, yet when he lets his guard down, the malignant truth of his ambition becomes obvious. It is a superbly well-crafted and compelling performance, to be sur
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Thompson’s skillful Richard is more than balanced by the rest of the cast, particularly by the exceptional group of women in the play. Leia Espericueta is a tragic Lady Anne without being passive; her first scene over the bier of her dead husband is strong and moving.
Elizabeth Ingram is marvelous as Queen Margaret, her curses to Richard
and all his deeds are potent and powerful. Tod Randolph is more than a match for Thompson’s Richard; first as the adored queen, then, as the grieving and bereft widow whose children have been murdered, she is a powerhouse of passion and anger. And Annette Miller, as the Duchess of York, is a figure of strength and despair, showing both grief and fury at the actions of her despicable son Richard.
and all his deeds are potent and powerful. Tod Randolph is more than a match for Thompson’s Richard; first as the adored queen, then, as the grieving and bereft widow whose children have been murdered, she is a powerhouse of passion and anger. And Annette Miller, as the Duchess of York, is a figure of strength and despair, showing both grief and fury at the actions of her despicable son Richard.
Nigel Gore’s Duke of Buckingham provides an able foil to Thompson’s Richard, performing with a bit of jocularity and a liveliness even as he joins Richard’s schemes. Rocco Sisto is a sympathetic Clarence; Josh Aaron McCabe is a sinister and mysterious Catesby, and Jason Asprey is effective as the doomed Hastings; Johnny Lee Davenport plays two roles: a regal and commanding king and a real politico as the Lord Mayor of London. The entire cast is excellent, from John Douglas Thompson in the title role to the two youngsters who play the princes sent to the Tower.
Jonathan Croy has used a deft touch in directing this production; he has coaxed humor out of a number 
of scenes as well as adding some audience participation to vary the darkness of the plot. This Richard III is true to the text yet imaginative in its presentation. The show runs three hours, but it is well-paced and balanced, with strong performances throughout.
of scenes as well as adding some audience participation to vary the darkness of the plot. This Richard III is true to the text yet imaginative in its presentation. The show runs three hours, but it is well-paced and balanced, with strong performances throughout.
The production looks rich and regal; the set is simple but effective, consisting of a series of columns and Gothic arches that move around the bare stage to form different locales, with the addition of a throne or a bench when needed. The sumptuous costumes in an array of colorful brocades set the period and the atmosphere—these characters are richly dressed as befits the aristocracy, but at the same time, the ever-present swords are reminders of the imminent danger.
The thrilling fight scenes are very well done, and the final scenes as the play comes to a finish (not to give away the ending) are very affecting. This is a superb production, from the excellence of John Douglas Thompson’s performance to the able and creative direction to the fine work of the ensemble cast. “Glorious summer,” indeed.
Assistant Director and Text & Voice Coach, Malcolm Ingram; Costume Designer, Arthur Oliver; Set Designer, Patrick Brennan; Lighting Designer, Les Dickert; Composer/Sound Designer, Scott Killian; Fight Director, Ryan Winkles; Assistant Costume Designer, Soule Golden; Assistant Lighting Designer, Christopher Thielking; Fight Captain, Douglas Seldin; Dramaturg, Katie Goodland; Production Stage Manager, Hope Rose Kelly
(Through September 5; running time three hours with one fifteen-minute intermission)
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