Richard II
Closing: May 10, 2025Richard II - 2025 West End History , Info & More
Bridge Theatre
One Tower Bridge London SE1 2SD
Richard II is charismatic, eloquent and loved by his friends. And a disastrous King – dishonest, capricious and politically incompetent.
Echoing down the centuries is the perennial problem: how to deal with a ruler who has a rock solid right to rule but is set on wrecking the country he leads.
Shakespeare’s subtle, ambiguous and beautiful play finds feudal England on the cusp of modernity, as a divinely sanctioned monarch is confronted, in the figure of Henry Bolingbroke, by the hard-headed pragmatism of real authority.
Richard II is played by Jonathan Bailey, whose past work includes Bridgerton, Fellow Travellers, Cassio in Nicholas Hytner’s National Theatre production of Othello and Edgar to Ian McKellen’s King Lear. He has also won an Olivier Award for his role of Jamie in Company and is Fiyero in the up and coming Wicked movie.
__Assisted performances__
Audio-Described Performance: Saturday 12th April, 14:30
Captioned Performance: Friday 2nd May, 19:30
Richard II - 2025 - West End Cast
FEATURED REVIEWS FOR Richard II
Jonathan Bailey is a magnetic king
8 / 10
Bailey is aided by a strong supporting cast. Pierreson’s Bullingbrook is a cool and calculated foil to Bailey’s impulsive king, bringing a powerful renegade energy to the production with his band of rebels. Martin Carroll, who stepped in as John of Gaunt, is desperate in his final moments, pleading for his country, which is being ruined at the hands of Richard. Simkins, no stranger to the Bridge stage having recently starred in its production of Guys & Dolls, is a committed Duke of York, unfailingly loyal even when it means selling out his own son, the Duke of Aumerle. This leads to a humorous scene between the Duke, Duchess of York (Amanda Root), and Aumerle (Vinnie Heaven), as they plead Bullingbrook’s forgiveness, scuttling across the stage on bended knee.
Jonathan Bailey is a monarch on the edge
6 / 10
The actors also seem constrained by Bob Crowley’s narrow design and the use of hydraulics to raise and lower sections of the stage. The Bridge’s auditorium has to be one of the most atmospheric in the country, but here the rising and falling of platforms — which worked so well in Hytner’s magnificent version of Guys and Dolls — becomes more of a distraction. The same is true of Grant Olding’s music, which might as well have been written for yet another TV drama about a maverick detective.
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Richard II History
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