It’s not easy being King
Bard enlivens history
by Christopher Key
Imagine, if you will, a land ruled by a spoiled, arrogant son of the privileged class. He is extremely unpopular, but surrounds himself with advisors who tell him only what he wants to hear. They lead the country into an unwinnable war that bankrupts the treasury. Plus ça change, plus c’est la même chose. In this instance, I’m talking about Richard II, final show of the Bard on the Beach season and first in their ambitious “Kings” cycle that will run through 2011.
A friend and I were discussing the complexities of English history during intermission and agreed that it’s about as easy to comprehend as the rules of cricket. Seeing that history brought to life onstage, however, is one of the many gifts Shakespeare gave us and is far better from a pedagogical standpoint than memorizing names and dates.
Richard II is all about hubris, seemingly intrinsic to the characters of those who seek power. It’s as popular today as it was in the time of Sophocles and we seem incapable of learning its inevitable results, despite the multitudinous tragedies based on that theme. Does Richard learn from his mistakes or does he just pretend to do so? Director Christopher Weddell does an admirable job of leaving that up to the audience.
Duncan Fraser plays John of Gaunt and John Murphy plays Henry Bolingbroke in the Bard on the Beach production of Richard II.
Duncan Fraser delivers a powerfully moving performance as John of Gaunt, Duke of Lancaster and the king’s uncle. His take on the famous monologue that includes “This royal throne of kings, this scepter’d isle…” is nothing less that definitive. Another dazzling performance to watch for is that of Lois Anderson as the Duchess of York. Her portrayal of an overprotective mother is a thing of beauty.
David Marr as the Duke of York matches Anderson histrionic for histrionic and his interpretation of the character’s impetuosity rings perfectly true. As Henry Bolingbroke, soon to become King Henry IV, John Murphy invests his character with a power that is totally convincing and does it mainly with his voice.
I am hoping that Haig Sutherland as the title character was just having an off night. His delivery seemed quite stiff and at times resembled a recitation rather than a performance. His resume leads me to believe he is capable of far better and he’ll need to do that given the caliber of actors supporting him. That supporting cast is superb, as expected at Bard on the Beach, and, as usual, I wish I had room to mention them all.
Mara Gottler’s costumes are appropriately grim and militaristic and Sound Designer Patrick Pennefather has assembled an evocative and portentous soundtrack. There are some truly dramatic lighting effects thanks to Alan Brodie. Stage and Scenery Designer Pam Johnson has managed a setting that works as well for Richard II as it did for All’s Well That Ends Well. That’s true theatrical magic.
Richard II plays through September 18 on the Studio Stage in Vancouver’s Vanier Park. Bard on the Beach shows tend to sell out early, so make your reservations now by calling (604) 739-0559 or go to www.bardonthebeach.org. Ticket prices range from $18 to $34 and after 20 years of Bard, it’s still a major theatrical bargain.
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