David Muse’s dour production of “Richard the Third” at the Shakespeare Theatre Company opts for nerve-wrenching tension at the cost of some of the protagonist’s joie de vivre.
“Richard the Third” is one of Shakespeare’s most produced plays, and the reasons are obvious. It is accessible across cultures, and it is not especially complex. Essentially, it is a “House of Cards” tale of an amoral, ambitious man doing what he needs to do to seize the throne. What makes the play so beloved (Shakespeare, after all, trod the same territory more successfully in “Macbeth”) is the portrayal of the main character.
This is a rare production of “Richard the Third” that posits that the play is not just about Richard. It is worth seeing to see so many fine actors prove that argument.
Shakespeare’s Richard is bitter and conniving, but he also enjoys the sport of power politics. He delights in dissembling and in weaving webs around the too-credulous kings and princes in his way. Matthew Rauch does a fine job as Dick the Bad, but for the most part, leaves out Richard’s dark humor. (This is a shame because when he does include it, he’s quite funny.)
Muse and Rauch have tried something interesting with the character, portraying his disability — often shown with a physical deformity or a pronounced limp — as far worse in Richard’s mind than in fact. This Richard suffers more from body dysmorphia than from his actual impairment; Richard as others see him is assured, debonair, and not in especially poor health. This concept is expressed with subtlety.
Rauch’s refusal to chew the scenery like so many Richards do does give the rest of the cast a chance to be seen. The four queens of the play present a compelling narrative of their own. Lizan Mitchell induces chills as Margaret of Anjou, the naif from “Henry V” now taking form as a vengeful witch casting curses and dire predictions. Cara Ricketts as Lady Anne successfully navigates the most difficult bit of the script, going from despising Richard to warily accepting his offer of love in a matter of minutes, with her dead father-in-law’s bier right behind them. Robynn Rodriguez and Sandra Shipley are also strong as Queen Elizabeth and the Duchess of York, respectively.
While the story is simple, the cast is large, and many politicos bustle in and out. To aid the audience member not versed in English politics circa 1480, projected supertitles identify each. Derrick Lee Weeden as the dignified Lord Hastings is a standout, as is Christopher Michael McFarland as Buckingham, a sort of ur-Michael Cohen crony who gets his revenge when his boss reneges on a deal.
The late entry of Evelyn Spahr as Richmond reinvigorates the show; Spahr is a whirlwind of boisterous energy as she rallies her troops against the fading Richard. (Interestingly, Muse chose to make the role gender-swapped rather than gender-blind; the future Henry VII is referred to as “my Lady.”)
Movement designed by Steph Paul effectively has members of the ensemble stomping, clapping, and beating their chests to quicken heartbeats and create war drums. (This goes a bit too far when in a few scenes, unseemly looking folks hover upstage whetting knives and cracking whips.) Debra Booth’s set evokes both an abandoned warehouse and a slaughterhouse, underscoring the play’s theme of butchery.
This is a rare production of “Richard the Third” that posits that the play is not just about Richard. It is worth seeing to see so many fine actors prove that argument.
Running Time: Two hours and 30 minutes with one intermission.
“Richard the Third” runs through March 10, 2019, at the Sidney Harman Hall at Shakespeare Theatre Company, 610 F Street NW in Washington. Click here for tickets.
