Through the Ranks: Reviewing ’Richard II’ at the Bridge Theatre

★★★★ | When Jonathan Bailey takes his place upon the throne as Richard II, he is sprawled across the grand chair, exuding the effortless arrogance of an overconfident ruler and glowering over his subordinates with fearless rigour. His arrival at the Bridge Theatre heralds a grand return to royal ranks after playing a viscount in Bridgerton and a prince in the Wicked movie.

In London, where he is now, Bailey is elevated to a king – though one whose downfall we are soon to witness. As is so often the case in Shakespeare’s hierarchical dramas, when one monarch falls from grace, another must ascend. Royce Pierreson (playing Henry Bolingbroke) steps forward to stake his claim to the crown, becoming the resolute counterpoint to Bailey’s crumbling sovereign. The second collaboration between eminent director Nicholas Hytner and Jonathan Bailey, Richard II delves into the psychological intricacies of succession, charting the titular leader’s transformation from imperious ruler to dethroned prisoner.

The company of Richard II. Photo Credit: Manuel Harlan

Hytner’s approach mirrors the cut-throat world of modern on-screen dynasties, most markedly seen in the acclaimed HBO series Succession. The corporate and frosty atmosphere that the Roy family inhabits is alike the play’s suspenseful sound, sterile lighting, office-inspired costumes, and tense family dynamics. There is also a considered use of incidental music that recognisably shares traits with the title track of Succession. It supplies dramatic flair through deep beats that hold the tension of the action onstage very well. 

In this staging of Richard II, the Bridge Theatre itself becomes a part of the production. Upon arrival, we are met by a square, dark, and bare stage that remains as such throughout. Props are reeled on and off regularly, but Hytner always returns to the simplicity of this blank canvas, guiding our attention towards the actors’ work. Another powerful moment features Richard delivering a monologue from the Circle level of the auditorium – looking to the stage rather than out into the audience from it. This, along with actors entering their scenes through various pathways within the auditorium, creates an expansive performance space that is bigger than the stage itself.

The company of Richard II. Photo Credit: Manuel Harlan

The lighting, too, follows this trend. At times, Bruno Poet abandons a dark theatre in favour of lighting up the stalls; elsewhere during strenuous moments, he dims the theatre to light the stage up, concentrating on the impending action. Mostly blue, the lighting adds to the cold and corporate atmosphere created by the staging and the sound, placing this production within the realm of Succession.

Power is what unifies and tears apart the characters of Richard II. This is visualised through physical displays of allegiance – or mistrust – in the kingdom’s rulers, as the cast gathers behind or in front of the monarchs. Bailey appears shorter than the other actors comprising the court, which allows these prominent formations of confidence to create a protective wall around the king. Especially striking is the slight height difference between Richard II and Henry Bullingbrook, as the crown passes from one to the other. The casting here (by Robert Sterne) sets up an unusual dynamic, as Bailey stands on his tiptoes when crowning Pierreson’s character, emphasising Richard II’s vulnerability and fall from power in this crucial moment. The tense relationship between these two men vying for the same crown is vital to the play, and Jonathan Bailey rises to the occasion with an artful display of his emotional range, brought to life through detailed mannerisms. He consistently fidgets with and picks at his hands, for instance, and scrubs his face in mounting frequency during emotionally fraught moments. Pierreson matches Bailey’s captivating rendering with the minutest nuances in looks and pauses that leave a lasting impact.

Jonathan Bailey as Richard II in Richard II. Photo Credit: Manuel Harlan

Albeit dominated by Jonathan Bailey, this production is marked by a quick rapport between characters and a definite consciousness of familial links. The chemistry between the actors is notable from the get-go; it becomes crucial to the build-up and tear-down of the line of succession. Clive Wood and Michael Simkins, as Richard’s uncles, deliver some of the most poignant and memorable lines of the play. Bailey receives these exquisitely delivered lines with equally focused attention. He is an actor who listens, which creates an entrancing chemistry with his co-stars. Speaking the Bard’s verses seems like second nature to this company – this especially rings true for Bailey, whose comedic timing and profound monologues make for a gripping watch. He embodies the distraught king confidently, exploring the emotional crevices within power and the lack thereof.

Richard II is a timeless work for its engagement with the themes of leadership and authority. What Hytner succeeds in doing is that, in examining the dynamic between power and the principles of governing intrinsically, he strikes a nerve which seems endlessly relevant to our political realities. 

Noticeably, this production is attended by audiences from all walks of life. The combination of the trusted Bard and present-day star power appears to be a drawing force capable of bringing new faces to discover Shakespeare, and rightfully so. This production of Richard II makes us question why it is not a staple of Shakespeare's dramatic catalogue that is staged over and over again in contemporary theatres. Hytner and this company inject new life into a historic tragedy that has never been more relevant.

★★★★

Richard II plays at the Bridge Theatre until 10 May.