Jonathan Bailey Archives - thespyinthestalls.com

★★★★

“Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too”

‘The Life and Death of King Richard II’, later shortened to “Richard II” is categorised as one of Shakespeare’s History Plays. Even though another early title reads ‘The Tragedie of King Richard the Second’. Tragedy or history, though, it bursts onto the stage as a modern-day thriller with Nicholas Hytner’s stirring interpretation. The story of a man whose symbol of power is of more concern to him than his duties has a chilling resonance today. Jonathan Bailey’s unpredictable ruler, however, is an eccentric soul, with a degree of vulnerability that draws our sympathy (so any comparisons to a contemporary world leader that might spring to mind are soon quashed).

Probably best known for his role in ‘Bridgerton’, Bailey returns to his theatrical roots, stepping into the role that follows some pretty impressive footsteps; John Gielgud, Paul Schofield, Ian McKellen, Timothy West, Derek Jacobi, Fiona Shaw, Eddie Redmayne, Mark Rylance, Ben Wishaw, Simon Russel Beale, David Tennant… Many a fine pair of shoes to fill, but Bailey slips into the role with ease.

Chronicling the monarch’s downfall, and the intrigues of his nobles – most notably Henry Bullingbrook (later King Henry IV) – the play spans the last two years of Richard’s life. The set is sparse, stark and by default unsettling and menacing – with the unpredictable air of a disused warehouse. We seem to be in a Netflix gangster land. Grant Olding’s sweeping music score sets the scenes, aided by Bruno Poet’s atmospheric lighting. Chandeliers dangle while minimal set pieces rise from the depths, around which men in black lead the dance with a swagger that ultimately trips and falls into tragedy, mourning and a kind of forgiveness.

Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too. An overuse of dry ice hammers home the film-noir flavour, but otherwise everything is perfectly balanced. Violence gives way to psychological intrigue while the battlefields migrate into the courtroom. Bailey’s performance is undoubtedly the shining light, yet he casts no shadow over the supporting cast who all command the stage in their own way. Royce Pierreson’s Bullingbrook is a tour de force as he struggles to reconcile his need to usurp the throne with his reluctant empathy for a failing king. The first act ends with the two pitching against each other, Bullingbrook armed with a massive cannon while Richard watches from the gallery, dressed in white. The second act ends incredibly poignantly as Bullingbrook gains little comfort from his victory while Richard’s body lies on a hospital gurney, now in black.

In a play where ally can become traitor, and vice versa, at the drop of a hat, the entire cast showers clarity onto Shakespeare’s verse, coupled with powerful emotion. Martin Carroll, who has stepped into the role, gives a wonderful poignancy to John of Gaunt who is desperate for his dying words not to be spoken in vain. But in true Shakespearian fashion, little can be done to halt the wheels of tragedy’s course. And the beauty of the staging leads to us, the audience, being made to feel somehow complicit in the action. Almost traitorous ourselves. It is an enthralling production that closes with an emotional power. A quiet, yet poignant punch, that leaves us quite breathless.