Arcola Theatre, 10th June 2017
I have had a surfeit of Dickie IIIs over the last few years. Mind you I am not complaining.
Mark Rylance on his return to the Globe found a vulnerable, despairing Richard who didn’t seem to care about his actions. Ralph Fiennes was a ruthlessly efficient c**t which left next to no room for audience complicity. Lars Erdinger was the narcissistic showman, even in the buff, in the Schaubuhne Berlin production at the Barbican. Benedict Cumberbatch, in the Hollow Crown II version (just get this on DVD if you “don’t like Shakespeare” and then change your mind), upped the comedy quotient which I enjoyed but was ingratiating for others. Robert Sheehan (the pretty boy off the telly’s Misfits) was one of the best things in Trevor Nunn’s marathon, “proper Shakespeare” War of the Roses at the Rose Kingston (yep all in one day for me) with his youth offering up a more bolshie Dickie. Best of all was Hans Kesting in Toneelgroep Amsterdam’s Kings of War. Like the War of the Roses this had the advantage of providing the back-story for Richard’s tale that the standalone productions don’t have, which ensures the other characters are in the flow of the action from the off. Kesting, with his tight fitting suit and birthmark but with no limp or withered arm, created a Richard with physical presence and superior intelligence who is able to bully all those around him. His actions almost seem reasonable such was his charisma making the final “I am a villain” monologue, when his loneliness is laid bare, here delivered to a mirror, even more disturbing.
I have to say though that Greg Hicks, in this Arcola production directed by its inestimable head honcho Mehmet Ergen, tops the lot. This is because he captured all of the facets of what it is to be a Richard III in my view. Now remember this is a piece of Tudor propaganda as filtered through Will S’s imagination so no need to get too hung up on the “reality” of the body count or the misogyny. A bloody route to kingship was par for the English course through most of history. What matters is how the performance and production seeks to balance the contradiction between the audience’s repulsion and attraction to our leading man and the dialectic between the thirst for power and the self loathing that torments him. The best plays obviously feast on contradiction and big Will serves these up in spadefuls in this play.
Greg Hicks was not setting out to play the joker here, though the delivery of some of the classic asides to audience served that purpose. His crystal clear delivery of the lines, together with changes of tone and phrasing, and the masterful use of pauses, revealed intent in ways that had not been clear to me before, notably in the “group’ scenes with Rivers, Hastings and Stanley. His constant movement of face and body (with leg permanently chained to arm) and habit of getting right in the face of the other characters emphasised the desire to twist events to his advantage. This was a Richard in a hurry. The crown was the payback for the hate meted out to him in the past. The unhidden misogyny and careless manipulation was simply the means to this end. Not “pure evil”, not a charming pantomime villain, not solely motivated by self hate and a desire to avenge, self-aware but still consumed by the deception of rightful inheritance. This is when an intervention by a trained psychotherapist in childhood might had saved a whole lot of bother later on.
The compact Arcola space with its steepish seating, the sparse staging and costumes, sympathetic staging and lighting, all served to focus attention on the actors. The support from this medium sized cast (there was a bit of doubling) was admirable, particularly Paul Kemp as Clarence/Stanley, Sara Powell (so good in the recent The Plague on this very stage) as Elizabeth and Matthew Sim as a full-on psycho henchman Catesby, but matching Mr Hicks proved a big ask.
We know Greg Hicks is an outstanding Shakespearian actor having been and done it with the RSC and NT and I hope there are many more to come. But I would love to see him revisit some Pinter, create a hard-arsed Volpone or have the lead role in a future Martin McDonagh play. For the moment though I have this performance to savour.