We’ll probably never have a chance like this again. Within the space of a year and a half we were so fortunate as to catch three extraordinary and distinctly different productions of Richard III — most recently at the BAM Harvey Theater in Brooklyn, where the play was a showpiece for Kevin Spacey. We can report that Spacey is not only a highly accomplished classical actor, but also – no surprise – a natural-born entertainer.
The first Richard III that we saw was a August 2010 production at Shakespeare and Company, in Lenox, Massachusetts. As we noted in this post, the Lenox show seemed to us to be as much a set of varied dramatic pieces, each with its own unique entertainment value, than as a dramatized “story” – more of a “show” than what we have come to think a “play” should be. Elizabethan performances of Richard III may well have been much like this; the “quarto” edition of Richard III described the play as
The Tragedie of King Richard the third.
Conteining his treacherous Plots against his brother
Clarence: the pittifull murther of his innocent Ne-
phews: his tyrannical usurpation: with the
whole course of his detested life, and
most deserved death
This show at Lenox didn’t seem fragmented; each scene had oomph, and the total effect was intensely satisfying. Moreover, while Richard (an excellent John Douglas Thompson) necessarily had more of the spotlight than the other actors, this was emphatically an ensemble performance.
Then, in June 2011, we took in a second Richard III at the Stratford Shakespeare Festival, in Stratford, Ontario, where we see most of our Shakespeare. Perhaps surprisingly, considering that Richard was played by a woman (Seana McKenna), the director took a much more traditional approach to the play. As we noted in this post, this production, with its clear narrative and controlled emotional arc, was a character study in self-destructive behavior.
Then, in early March, we were able to catch one of the final performances of Richard III at the BAM Harvey Theater, in Brooklyn, a production that served largely to showcase the talents of Kevin Spacey. A lot of the time, television or movie stars are cast in Broadway plays simply as box-office attractions, irrespective of acting ability, but that was obviously not the case with the star of American Beauty, who is among other things co-director of the Old Vic, the London classical theater company that was a co-producer of the production at the BAM Harvey Theater.
To say that Mr. Spacey was a “ham” would be unfair, but he dominated every scene in which he appeared, including the ones in which he mostly just stood around. His prancing, mocking, leering, sweating (lots of sweat), and boasting were endlessly entertaining, and we were riveted by the spectacle of Richard’s becoming progressively unhinged by paranoia and the corruption of boundless power. Mr. Spacey often spoke directly to the audience, making us complicit in his misogyny and sociopathic ambition. His performance was all the more impressive because of the physical demands of playing Richard with a shoulder hump, a badly deformed leg, and a severe limp.
The rest of the large cast supported Spacey well, although not many supporting actors stood out. We particularly appreciated Annabel Scholey as Anne, the new widow whom Richard artfully persuades to marry him, and Haydn Gwynne as Queen Elizabeth, who wins the rhetorical battle with Richard over whether she should help him woo her daughter, but loses the war to Richard’s superior emotional strength.
Like way too many other productions of Shakespeare these days, this Richard III was set in “modern” times. The characters wore twentieth-century clothes and used electronic technology, and the crippled Richard wore a steel brace on his leg. Mr. Spacey accompanied the lines of Shakespeare with gestures and vocal expressions that are unmistakably part of today’s Brit-American culture (and which didn’t line up with the play’s 1920s setting). The show’s lavish use of blood and gore surely owed much to the gross-out violence we’ve gotten used to in our movies.
Yet even though horses have not been part of Western warfare for 100 years, Richard was still willing, at the play’s end, to trade his kingdom for a horse! My wife says she likes contemporary touches like Mr. Spacey’s in a Shakespeare production. But we still fail to see why a play about 15th-century historical figures should not be set in the 15th century.
These three productions each nailed Richard III, but for different reasons. If you value productions of Shakespeare that try to connect Shakespeare with contemporary culture (personally, we don’t much see the point), and if you enjoy bravura acting (we love it), the BAM’s Richard III, with Kevin Spacey, was the pick of the three.
If what you value most is the language of the Bard and actors who can extract maximum meaning from a speech, the Richard III at Stratford takes the prize. Seana McKenna’s was the best acting performance of the three Richards – subtle, conniving, compelling, and complex. She even looked the part more than either Kevin Spacey or John Douglas Thompson.
But the Richard III we’d most like to see again is the one we saw in Lenox. We felt that we’d experienced just what the playwright had in mind when, early in his career, he wrote these scenes in the life of Richard – a grand, exuberant pageant with verbal duels, rapier duels, laments, family quarrels, ghosts, shock talk, seductions, horror scenes, and buffoonery. The supporting cast in the Lenox show also succeeded best at fleshing out the distinctive personalities of each of the minor characters.