For the first time in its 40-year history, Shakespeare on the Saskatchewan (SOTS) has taken on The Tragedy of Richard II.
While it may not be as flashy as other SOTS shows, Richard II holds its own as a deeper and more serious example of classical Shakespearean performance — though it does occasionally leave its audience behind as it races through the history and politics of the plot.
Directed by Skye Brandon, Richard II follows the eponymous king (Braden Butler) through the final years of his life and his downfall to a rebellion led by Henry Bolingbroke (Aaron Hursh). Portrayed as a weak and mercurial king, the show leads the audience through Richard’s flagging leadership and the heavy price that comes with being in charge.
Unlike most SOTS productions, Richard II is played quite straightforward in terms of setting and design. Carla Orosz’s dark and foreboding castle set and Beverly Kobelsky’s magnificent costumes lend the show all the gravitas one might expect from a Shakespearean tragedy. From a design standpoint, this is a standout for the company from the past few years.
Butler, who plays the titular doomed king, is a bright light among the medieval gloom of the setting. In turns both posturing and manic, Butler gives a very David Tennant-esque portrayal of Richard. Butler makes Richard seem almost entirely unlikeable — but as his foppishness gives way to reveal a simple and weak man who, despite his many faults, loves his country, we get to appreciate a depth to the performance that makes the whole journey more enjoyable.
Through no fault of the cast or director, the show felt somewhat stiff. The fact is Richard II is not a play packed with action or hijinks; it is both a history and a tragedy. Events occur at uneven paces, and many of the most important ones happen offstage, leaving the reactions of characters to news as the driving force of the plot.
Occasionally, those reactions simply felt a bit stiff. Characters too often responded to news of death and dismay with little emotion. Some of that can be attributed to the classical Shakespearean style of stand-and-deliver performing. But a lack of intensity in emotion and in body language, particularly in the first act, left the show feeling a bit aimless until it neared intermission.
There were some truly shining moments in the show — Richard giving up his crown, the altercation between the Duke of York (Kenn McLeod) and his son (Mitchell Larsen) and the final words of John of Gaunt (Sean Hoy) were big standouts — that Brandon and the cast brought to life with aplomb. And if the first act wandered a bit, the second act solidified the ideas of the show and sped towards a sudden and visceral conclusion.
SOTS’s first-ever production of Richard II is a due evolution for the company in terms of material. But while A Midsummer Night’s Dream was a step forward and a look back for the company, Richard II is firmly rooted in the past. Brandon’s direction guides the actors well through deep soliloquys and politic-laden dialogue. This is a rare show where you might get more out of it if you’re familiarized with the plot ahead of time.
This is a gorgeously designed and well-performed Shakespearean production. If you’re a fan of Shakespeare, or simply a fan of Shakespeare on the Saskatchewan, it’s absolutely worth checking out this show this summer — if only to get a taste of what good “classical” Shakespeare looks like.
Tickets for Shakespeare on the Saskatchewan shows can be purchased online at shakespearesask.com.
