There is always an understandable buzz around the debut of a new play—not least because this is also the debut play of renowned historical novelist Philippa Gregory. And it deserves the attention. It’s a mighty tome of a play that seeks to redress the balance on Richard III’s character and reputation. And in doing so bring to the fore the equally misrepresented women in his life and give them a voice also.
Since the burial place of Richard III was discovered in a municipal car park in 2012 and his subsequent reinterment at Leicester Cathedral in 2015, there has been a major resurgence of interest in this much maligned king who ruled at a turbulent time in our history. That he was killed in battle by Henry Tudor’s (later Henry VII) army is not in doubt, and his death lead to the establishment of the Tudor line and arguably the reign of one of our greatest monarchs, Elizabeth I. But history is written by the victors, and it was in the Tudor interest to paint Richard in a very poor light. So Shakespeare makes him a cruel hunchback, and the fate of the missing Princes in the Tower—his brother’s children and the true heirs to the throne—are laid firmly at his door.
Philippa Gregory has already conducted much research on this period and written novels on the subject. So she has brought to bear all of her knowledge and resources to create this play, which takes the style of Shakespeare and uses iambic pentameter but gives it a fresh and modern twist.
For this production, the Theatre Royal, Bury St Edmunds has been transformed into theatre-in-the-round with minimal set: just half stairs round a central lit space. The use of chorus and the fluid scene changes reminded me of the RSC’s first production of Wolf Hall. A downside is that much of the action happens offstage and is spoken about rather than seen.
Eight actors tell the story, with Tom Kanji as ‘History’ giving a narration of sorts, although it must be said that his contribution often makes the plot more confusing than enlightening. But he also brings the small amount of much-needed humour to an otherwise very dark story. The rest of the company mostly play multiple parts, some walk-ons, some more succinctly fleshed out. Especially strong are Laura Smithers as Margaret Beaufort, mother of the exiled Henry Tudor—a powerful mover and shaker in her own right—and Tori Burgess as Richard’s wife, Anne.
But the crowning glory of this production is Kyle Rowe as Richard himself. From the moment he emerges from his car park tomb, he takes the stage with a charisma and power that truly make us believe in his kingship and his divine right to rule.
The play starts in the present: Richard has been brought back to life to demand a voice and a chance to tell his side of the story. And the personification of History allows him to do this. We then look back with him on the events that shaped him and the people that surrounded him as he compares the received history with his own truth.
This is a strong, able-bodied Richard who successfully weaves his way through the various complications of his time and circumstances and, with the death of his brother, takes firm hold of the throne and sets about trying to be an honest and just head of the kingdom.
Alongside this, the women in his life get a very compelling and powerful voice too, redressing the balance of their place in this complicated story.
It must be said, to get the most out of this production, you need to be up on your War of the Roses and Plantagenet history. The first half is pacy and takes you through the characters and the action at quite a gallop.
In the second half, the pace calms a little and we get to know the characters as individuals a bit better and hence can empathise with them more. As we draw to the inevitable conclusion, there is poignancy and real emotion and a well-staged battle scene, which leads to Richard's eventual demise and his own questions as to whether his reputation and legacy would be vindicated.
A powerful production, firmly directed by Katie Posner, that is enhanced by a compelling sound design from Beth Duke and costumes from Alice Roberts.
A must-see for history buffs and anyone interested in learning more about this much-maligned king and his place in the history of our nation.