Review: RICHARD II, The Vaults

"For heaven's sake, let us sit upon the ground and tell sad stories of the death of kings" Richard II famously says. The first part in Shakespeare's Henriad follows a king who's quite poetic, vain, and adores adulation.

Quanadary Collective lean into Richard's perception as a rather effeminate monarch. To highlight the dangers of toxic masculinity, they bend the role so that Richard needs to present as male in order to rule.

Coco Maertens leads the company in Annie McKenzie's strong and testosterone-filled dystopic production. Patriotism and pride divide the country while its ruler sits on the throne enjoying the drama she spins from it. Between exiles and banishments, Richard's popularity is rapidly falling among his subjects.

With Richard's moods and ego manipulated by his inner circle's flattery and compliance, it's only a matter of time until the rebels gain control and Henry Bolingbroke makes history. McKenzie's take on Richard II comes off as quite traditional until she shakes the show up with Maertens's big reveal.

The actor is brilliant. Amidst the crude execution of authority and exceptionally choreographed fight scenes (Jonathan Holby), she is feminine and tiny in her androgyny. Her mannerism and bearings are carefully crafted to exude privilege and a loud carelessness towards all that's not herself. She strolls across the stage, power-hungry and insecure, giving an intense and measured performance.

She is surrounded by a number of equally solid portrayals. Danann McAleer as the Earl of Northumberland and Joshua Picton as Richard's favourite, Bushy, stand out for opposing reasons. Where McAleer's Northumberland is governed by his manliness and brutality, Bushy is a flamboyant presence.

Ashley Hodgson is the Duke of Aumerle as well as the ultimate king-slayer repudiated by George Alexander's Bolingbroke. The latter is gentle in his determination to seize the power and depose Richard.

The pace swings between frantic and lethargic. Energetic movement-led scenes (by Zoe Villiers) set to electronic music (composed by Kester Hynds) back off abruptly to give space to a few long lulls permeated by the political games of the leading class. Running at two hours and 45 minutes, the piece is lengthy out of necessity.

The company tinker with Shakespeare's language to make their adaptation more accessible to the untrained ear, but don't cut the material much. They do, however, dispose of all female characters entirely, so the men swallow Richard and her femininity whole with their virility.

Valentine Gigandet's set and costumes look as if a sepia filter has been applied to them. The throne sits on a wooden pallet and is a foldable chair backed by what looks like half of the casing of an old fan. Windchimes built with random objects hang from the flies and used tyres populate the stage with dry, dead-looking sprouts of desert grass.

It's all very post-apocalyptic and dystopian, which works well for the themes of the play. This is a novel approach for a Richard II, and certainly an intriguing one. However, there are a few unconvincing moments that might need to be revised and placed in a stronger context.

Richard disrobes completely in a fit of blind frenzy to prove her point to the other noblemen. While it's an affecting moment, it feels slightly out of character. Bolingbroke chases after her and covers her up with his cape while the others shield their eyes in shame.

Combined with her attempted rape during the murder scene, the shock value associated with the female body - naked or clothed - is used rather disturbingly without much backup to it. Sadly, it's quite the weak point in an otherwise very valid take on the history play.

Richard II runs at The Vaults until 8 May.

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