Sieze me no Siezures . . .
review by Louis Lopardi . . . March 9, 2002
Directors Steve Thornburg and John Michael MacDonald gave us a neat, orderly, and ultimately rather static production, having more in common with opera of old. The focus was on the play of ideas and personality conflicts. So rather than emphasize falling and rising kings, it became clearly a contest between a king of deeds and a king of words. The two antagonists were well chosen to support this.
Tony Ciccotelli played a rather fey and febrile Richard. The idea didn't quite work at the start, but this Richard grew into the moments to come. His "let us sit upon the ground" scene was a joy - and each succeeding moment better still, as one saw where the actor was going with his bold choice. He was able to sustain this chosen persona and more, to convincingly show how this particular Richard would evolve and grow. Alex Miller played a brusque Bullingbrook (Bolingbroke). This rather stiff Bolingbroke seemed to be ‘trying on' this king thing - getting used to the possibility gradually - and this was ultimately very convincing.
They were well supported. Jack Merlis is a strong, consistent actor who portrayed Gaunt as a noble wreck, gaunt in manner. Few are able to turn the "this sceptered isle" speech into the ‘fortress built by nature' that it can be; this Gaunt nearly did it, but ultimately relied too heavily on the meter of the lines to carry the moment.
Cuts here and elsewhere in the narrative were judicious, well chosen, and unobtrusive; perhaps the hand of Dramaturg Laura Raynor. Overall we heard a careful pronunciation and diction from a well trained cast. But sometimes there was a blind eye to improper feminine word endings - only really painful in moments like Bolingbroke's final speech. Fight choreography was succinct and to the point; but someone should have shown principals how to properly sit upon a throne while wearing a sword. It isn't merely bad form, it's distracting. The set (by Kirk T. Larsen) was bare and effective. The lighting (Jim Stewart) made excellent use of the repertory plot. Patrick Wang provided sound design. Steven Thornburg presented a logical and elegant period costume design.
We were given a rather cold-blooded deposition scene. Planned well enough with all facing out, it resulted in drama being held to a minimum, relying on a static pageantry to carry the moment as we focus myopically on Richard's words. Ciccotelli later presented a very subtle cat and mouse play with "Cousin, seize the crown", achieving real tragedy and intimacy with the mirror scene. In general, the intimate and smaller conspiracy scenes were the most succesful.
A real acting powerhouse in the production was Barry Ford as York, exhibiting an amazing range of drama and voice, while controlling all within an ironclad character build. But there were many even in lesser roles who leapt out: A versatile Randi Sobol as Duchess of York supported others carefully. Northumberland was a surprise: Ted Morin was riveting, maintaining a total focus at all times. One could almost seem him physically growing into the role as the evening progressed. And a real surprise - a very young, fairly inexperienced Bagot (Larray Grimes) had stage presence even in this minor role, and could speak the language with ease. Other excellent standouts: Peter O'Connor in total command of the shifting role of Aumerle; John Paul Lopez as a rock solid Marshal; Vance Clemente as a temperamental young Mowbray; Peter Meadows as Scroop; John Walton and Jeffrey Thomas as Green and Bushy; Judith Polson in a delightful cameo as the Gardener; and many more.
The bodies of Richard's executioners accompany him into the final scene as the remains of Bolingbroke's enemies referred to in the text. It became a metaphor for the production - seeming to say ‘we like things neat and tidy here'.
| Writing | |
| Directing | |
| Acting | |
| Costume design | |
| Set design | |
| Lighting design | |
| Sound design | |