TUESDAY, OCTOBER 22, 2024
BIAF 24: The Tragedy Of Richard III
Michael Patrick as Richard III in 'The Tragedy Of Richard III'. Photo: Johnny Frazer
A soul-baring, spirit-enriching and tremendously realised example of theatrical mastery, Michael Patrick and Oisin Kearney's adaptation of William Shakespeare's The Tragedy Of Richard III, hereafter Richard III, is one of those unusual and highly rewarding instances where cast presence and the openly communicated word both complement and surpass stylish structural aesthetics in a full-hearted and fulfilling atmosphere. As with the best of the Bard, what could be reductive, isn't – this Richard III not only recalls Old Hollywood in its straightforward and melodramatised character interactions but balances it out with a troubling, thoughtful centre, the larger-than-life darkness and lightness of being with the wit and grit of contemporary, topical drama.
Richard, Duke Of Gloucester, has been thought of as one of the most power-hungry expressions of ruthlessness to be found anywhere in Shakespeare's plays, and here he is given a portrayal of deeply human complexity by the courageous Patrick. Under Kearney's direction, and with a ensemble of immensely talented actors around him, Patrick brings astonishing dimensions to an enormously challenging central role – among them, desire, apathy, force, surrender and even unsettling amusement. All find their way into a figure whose tragedy may well be that his idea of power is all he has to turn to – imagine, as is the case here, if one knows they are dying from a terminal illness and senses that they perhaps have nowhere else to channel their energies and aspirations, given that the thought of and belief in long-term foundations seems an impossibility?
That's the thing about the tragedy of this Richard III – it is an examination of what could well be the deadening end before the dead end. It’s an instance of, but not a solitary illustration of, the cause, perpetuation and spread of painfully distant immorality, for behind the apparent emptiness lies a barely concealed and visibly damaging fear of rampant loss – of passion, possession and purpose. Yet the lessons to be learned never drift away, and it is why Richard III is so enduring and so emotionally affecting.
A scene from 'The Tragedy Of Richard III'. Photo: Melissa Gordon
At this moment, I find myself considering the writing of the brilliant Nicholas Meyer and how he was able to illustrate, in his finest work, the relentless and compelling instability of the super ego. Kearney and Patrick do likewise in Richard III and additionally align that with uniquely poignant diversity in their interpretation, presenting their audience with the chance to consider how far society may have evolved in terms of expression and well-being, and also how well society may not have evolved, in terms of desire for control. Here lies a physical, psychological and personal battle, perceptions of enlightenment clashing with persistent primal urges.
The tremendous work of set & costume designer Niall McKeever, lighting designer Jonathan Daley, fight director Philip Rafferty and sound designer Katie Richardson gets a full-on exhibition in an arena ripe for all sorts of verbal and emotive sparring. This, too, opens the door for Chris McCurry, Charlotte McCurry, Ghaliah Conroy, Michael Curran-Dorsano, Patrick McBrearty, Allison Harding and Ciaran O’Brien to all excel themselves, and Paula Clarke stands out for the distinctive tragedy she brings to Richard's servant Tyrrell. It is utterly sickening to see Tyrrell dispose of the corpses of Richard's perceived foes in a place where they will rot and leave an enormous stench which neither Richard nor his associates will rub off. It is a hollow existence of obedience, reflected in a performance which can't help but induce a form of pity.
Yet in spite of the darkness and gloom in the narrative, the sense of lightness and hope lingers in Richard III's lessons – a genuine means of viewing life as a chance to learn from the past and present before growing in the future. A way of turning the tables on the price of permitting enmity to fester and instead choosing to aspire to one's remaining years with a sense of calm, forward-thinking belief - an enlightening message worthy of such an enormously enterprising and downright spectacular production.
Simon Fallaha
The Tragedy Of Richard III opened the Belfast International Arts Festival 2024 and runs at the Lyric Theatre until Sunday November 10. For more information, and tickets, click here.