Shakespeare’s Richard II is often overshadowed by his other histories. However, the prospect of witnessing Jonathan Bailey take on the titular role, under Nicholas Hytner’s Direction at The Bridge Theatre, was unequivocally enticing. Richard II is a play about power and the fragility of kingship – an introspective and poetic work which offers a compelling character study.
To be frank, my decision to purchase the ticket a year in advance was primarily influenced by Bailey’s casting. Having followed his career since his early musical theatre days, the opportunity to see his acting prowess firsthand, in such an intimate setting, was too good an opportunity to refuse. Bailey, renowned for his ever-growing list of acting credits, from Bridgerton to Wicked, had a significant reputation to uphold. Casting high-profile actors in prestigious theatrical roles can be a double-edged sword: while their star acclaim draws audiences, their performance must justify the choice. Too often, notable names are given roles they lack the ability to inhabit fully. In Bailey’s case, however, he surpassed every expectation.
Bailey’s portrayal of King Richard was charismatic, nuanced and deeply human. He expertly captured the monarch’s erratic and impetuous temperament, oscillating between petulant outbursts and moments of profound vulnerability. His Richard was a ruler constantly teetering on the edge, exuding a charm that made his eventual downfall all the more poignant. Notably, his delivery also infused unexpected humour into the role, eliciting laughter from the audience and adding complex layers to the character’s volatility. The supporting cast delivered commendable performances, though Bailey’s commanding presence occasionally overshadowed them. Royce Pierreson’s Henry Bolingbroke was portrayed with a calculated ruthlessness and captured the political tensions of the narrative, whilst Michael Simkins, as the Duke of York, grounded the production with his seasoned portrayal.
However, the production was not without its flaws. The pacing occasionally felt sluggish, and despite the actors’ efforts, the narrative did not always grip as intensely as one might hope – the dramatic music between scenes hinted at a thriller-like-atmosphere, but the tension did not always land. While the modern-dress approach aimed to resonate with contemporary audiences, the inclusion of modern symbols like high-end shopping bags and cocaine-snorting, felt somewhat unnecessary and slightly jarring, detracting from the timelessness of the play.
Overall, this production offered an evening of entertainment for those open to a modern take on Shakespeare, but its true highlight was Bailey’s captivating performance – he brought Richard’s complexity to life, making his portrayal both compelling and unforgettable.
Image by Manual Harlan via The Bridge Theatre