RICHARD II
Stars - Eddie Redmayne, Andrew Buchan, Ron Cook, Sian Thomas, Ben Turner
Director - Michael Grandage
Theatre - Donmar Warerhouse
Memorable Quote - 'Within the hollow crown that rounds the mortal temples of a King keeps Death his court.'
Review - What actors Eddie Redmayne and Andrew Buchan are! Allow me to set the scene: you enter the Donmar and take your assigned place, chatter amongst yourselves and wait for the show to begin; all the while Eddie Redmayne sits zen-like on a carved wooden throne, centre stage, his eyes closed. He wears a luxurious white full-length coat with blue lining and a gold crown, and carries a sceptre. Bells begin to toll and music swells; assorted cast members enter the stage, kneel before their King, and take a position behind him; still he does not stir. Finally he springs into action like a toy coming to life, and his portrayal of a boy-like King during the first half is both amusing and somehow hollow. You get the impression that he is playing at being a King, making the right proclamations and joking about matters of life and death, without any real seriousness; only when John of Gaunt reproaches him do we see something "real". He changes his mind at a word or gesture from those who influence him, but cannot bear to stand by even his own proclamations, changing them at the last moment. Buchan meanwhile steals the first scene, before we even know his significance (unless of course you've read the play): he is hot-headed and passionate in his defense of the King, although suddenly withdrawn and less bold when he learns of his exile. There is some foreshadowing there of what his next actions will be.
The stage is gorgeous: light falls as if through high castle windows, the sounds of birdsong are heard faintly, and you arrive to a cloud of sweet-smelling wood smoke. The use of a balcony area and lower stage allows two scenes to go on at once at some points, and also allows symbolism of status and power. Costuming is also impressive - particularly of note is that long coat worn by Richard in the first half, and though Redmayne may not have quite as accomplished a sweep as one Mr Cumberbatch, it suits him well and lends a sense of drama to his entrances and exits.
The second half, when we return from the interval, is a different beast. Now Redmayne truly comes alive - he is lost, broken, unsure, grieving, angry, meek; when giving up the crown he is tormented, wrenching it away from Buchan's grasp with a howl. The boy playing at being King is become a King playing at being an ordinary man. Buchan is no longer the lowly petitioner Bullingbrook but a vengeful and powerful challenger for the throne, his brown and simple clothing a warrior-like contrast to Richard's gilt and luxurious garments.
Over the course of this second part the tide of favour turns: one cannot help but pity Richard and hope for his return to the throne, as he struggles to conceal a rapidly unravelling identity beneath courtly manners and praise of Bullingbrook that borders on sycophantic. He covers the stage, pacing from one side to the other or leaping across with a newfound, desperate energy. Passion appears as he is separated from his wife, and the heartbreak of it is enough to turn the audience against the new King Henry and such rulings as the one that separates them, particularly in contrast to his reluctance to allow duels. Redmayne also demonstrates a singing voice that is not half bad in the final scene, in which a little humour is not misplaced. The great comedic turn comes however in the form of the wry Duke of York, particularly in his delivery of certain lines and the way he opposes the appeal of his wife and son; only one actor seems to let the cast down, as is often sadly the case, and he speaks few enough lines to almost be ignored. The most laughs come, ultimately, at the throwing of multiple gages during Aumerle's confrontation of Bullingbrook's supporters.
As they take their bows it is possible to observe a difference between the two principal actors. Buchan exudes a quiet triumphance as if he accepts his rightful due: not yet Buchan again perhaps, something of Bullingbrook lingers in his gaze and expression. It is difficult to look away from Redmayne in order to notice this, however - with an ever-moving eye he seems desperate to record the faces of every single audience member, sweeping each row as many times as he can. He returns almost to the boyish uncertainty of the King, seeking to see whether what he has done was good; and good it most certainly was. Though he may be older already than his looks and mannerisms seem to imply, a long and accomplished career may yet be waiting for him.
5/5
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