Review: RICHARD III, Rose Theatre

"I am determined to prove a villain, and hate the idle pleasures of these days." There is no pretence between Richard III and his audience; he sets out his manifesto from the very beginning of the play, and we are left to watch in horror as he sees it through - deed by bloody deed.

The world judges him to be evil from his appearance alone, but have these actions simply served to radicalise him? Could he have been a good man, if he had been afforded the same respect in peace time as in war? Adjoa Andoh's production, now at the Rose Theatre in Kingston, seeks to explore these themes and more.

The folk horror aesthetic has seen something of a resurgence in popularity in recent years, thanks in no small part to TV projects from the likes of Reece Shearsmith and Steve Pemberton (Inside No. 9, Psychoville) - not to mention their former League of Gentlemen colleague Mark Gatiss, and his Christmas ghost story specials - but it doesn't immediately spring to mind when you think of Richard III. However, on closer inspection, it's a better fit than one might expect.

There is plenty of supernatural activity and magic across Shakespeare's canon, though it really does stand out in this particular play, as ghosts and curses actively affect the fate of all involved. It actually makes more sense in this setting, where everything is just a little bit mystical already. The atmosphere is created by Amelia Jane Hankin's set (the focal point of which is a large tree, which is suggestive of religions both old and new), and Yeofi Andoh's score (the electronic surges scream cult classics).

Maybelle Laye's costume design (a simple base layer upon which each character's personality and affiliations are painted) is also key, and there are some memorable features: Richard's boar mask in the opening sequence is a reference to his livery, and the ghosts are reminiscent of the decorations on some May Day hobby horses - a frightening sight for those who grew up in certain parts of the country. The use of sticks as weapons may mean there's a distinct lack of blood, but it does mean movement and dance can be easily incorporated into the production.

The idea to interrogate Richard's otherness comes from Adjoa Andoh's own childhood, growing up in the Cotswolds and being treated differently just because of her outward appearance. It's not necessarily the most obvious leap, however it does feel important that productions try and use this character to investigate humanity; able-bodied actors feigning disability is just not acceptable. As it is, Andoh's Richard swims against the tide of an otherwise all-white cast, and you start to see it as a potential companion piece to Othello - another character who is othered when his military prowess is not required.

Despite the inspiration coming from a Cotswolds village, I'm not sure it needs to be rigidly set there - especially as some of the accents are a little ropey, and veer into Mummerset all too often (despite the use of a dialect coach). Though it's understandable not to include a very young cast member just to play the young Duke of York, the puppet doesn't quite fit with the rest of the production - and unfortunately the puppetry itself leaves a little to be desired.

At three hours long, it does drag ever so slightly in places, although there are some fine performances which help to keep energy levels up. Rachel Sanders is powerful as Elizabeth Woodville, imbuing her with true dignity even as her world shatters around her, and Liz Kettle shines as Queen Margaret, leaving chaos in her wake with her curses. Joseph Kloska is at his charismatic best as Richard's one-time ally, Buckingham, keeping the audience on their toes as he schemes with his ambitious cousin.

It is, however, almost impossible to take your eyes off Adjoa Andoh. Her Richard III is compelling from the outset and, despite his early proclamations of villainy, does occasionally invite the odd glimmer of empathy. Andoh clearly understands the importance of humour in this play, and is particularly entertaining when Richard seeks to appear pious enough to be granted the crown - her whole performance is as overwhelming as the church incense employed in this scene to aid in the task.

This may not be a perfect production, but it is fascinating to see Adjoa Andoh's unique take on one of Shakespeare's most notorious villains. Whether the run was specifically planned to be running around the time of St George's Day, May Day, and a coronation of another 'third-of-his-name', I don't know - though this certainly adds an extra level of intrigue to the situation.

Richard III runs at the Rose Theatre until 13 May

Photo Credit: Shonay Shote

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