Reviewed
by Jerry Kraft
An
array of drums mounted on towers on either side of the stage, and another placed
deep behind the cold, iron scaffolding of the harsh, imposing set provide an
ominous and intimidating sense of unfeeling militarism. In the production's
opening image, an unimpressive, misshapen Richard moves to the forestage, and
his dark shadow rapidly grows to monstrous size against a blood-red curtain.
Clearly, we are about to encounter the spreading blight of this immoral,
ambitious man on a world unsettled and besieged.
Richard
III is, of course, one of Shakespeare's greatest villains, and an irresistibly
juicy role for an actor, but in this production Stephen Pelinski keeps Richard thoroughly
human-scaled, and the great drama less about his own actions and intentions
than about the effect of those actions and intentions on the society around him.
As a result, there is a grandly individualized, complex society created on
stage, creating fascinating and dimensional characters and giving a very human
face to the politics of power, intrigue and brutality. Solidly cast and played
throughout, the women in this production were particularly strong and
affecting. With striking theatricality and powerful stagecraft, this production
was beautifully balanced and engaging, convincingly fearsome in its portrayal
of a world as chilling as the sound of steel on steel, as visceral as an open
wound, as obscene as the murder of children for political gain.
Bartlett
Sher, coming off
his second consecutive Tony nomination for Best Director, has mounted a
production that confirms the Intiman theatre's own just claim to the 2006 Tony for Best
Regional Theatre. Impressive as Mr. Pelinski is in the title role, this really
is one of those instances where the entire production is the real star. Every
character speaks with conviction and clarity, and the theatrical gestures both
large and small invariably clarify or accent the moment. The spectacle is
impressive for its impact, not simply for its scale. The smaller stories of
secondary characters are as affecting and authentic as Richard's own futile
quest for a transient grandeur. The action rises to an invigorating climax, and
the play's resolution has grace and stature, as well as sobering irony.
Mr.
Pelinski gave a compelling performance, his lines beautifully spoken and his
banal and ruthless personality as treacherous as a cornered serpent. A kind of
royal serial killer, he has the sociopath's utter lack of conscience or sense
of common humanity. The lives of others are simply his working expenses toward
his acquisition of the throne. With the arrival of Hans Altweis as his final opponent, Henry,
Earl of Richmond, we finally see by contrast the worthy nobility that should
rightfully reign. Allen Fitzpatrick, John Pribyl, Lance McQueen and Timothy McCuen Piggee all gave excellent supporting
performances. For me, however, the outstanding cast members in this remarkably
well-balanced cast, were women.
Lenne
Klingaman was
especially vivid and well-crafted as Lady Anne, whose husband was killed by
Richard and who, nonetheless, ends up marrying him, to her own ruin. I also
appreciated the force and focus of Kristin Flanders as Queen Elizabeth. An actress
who holds the stage in a big way, she brought great intensity and articulation
to her lines. The estimable Suzanne Bouchard has a masterful control of the
impassioned depth of the aggrieved mother Margaret, widow of Richard's victim,
Henry VI. In her performance was something of the loss of every mother who has
ever seen her children consumed by the hungers of war. Megan Cole, who plays the bereft mother of
three murdered children, was overwhelming in her authority and depth. The sheer
moral power of her tragedy, of her anger and loss and insistent anguish was
astonishing.
In
addition to being exceptionally well-directed and well-played, this was one of
the most impressive physical productions I've ever seen at Intiman. The scenic
and lighting design by Christopher Akerlind was stunning, all harsh edges
and unfeeling scale, with levels and depths that emphasized the play's own
dimensionality. Costumes by Elizabeth Hope Clancy blended royal stature with
commonplace daily wear. A fine music and sound design by J. Steven White accented the shifting tone and
action of the drama. Finally, the swordfight sequences, particularly in the
last battle between Richard and Henry, was impressively expert and exciting.
"Richard
III", with its explorations of self-justifying brutality and ruthless
political ambition seems particularly relevant right now, and Bartlett Sher has
certainly drawn our attention to that correlation, without being overtly political
or editorial. What he's done is give us a riveting adventure in personal
politics, in the drama of rulers and the ruled, and in the obligations of a
society to stand up against immoral leadership when it drags that nation toward
ruin. That's exciting theatre, deserving of awards, recognition, and our
appreciative applause.