Richard II – Holy Trinity Church, Guildford

Writer: William Shakespeare

Director: Natasha Rickman

With considered design and direction, Guildford Shakespeare Company’s production of Richard II delivers the classic tale of family and betrayal in a reimagined yet relevant context.

The story follows the betrayal of King Richard (Daniel Burke) by his cousin Bolingbroke (Laura Matthews), a female role that has been adapted from a male part. After being both the accused and accuser of treason, Bolingbroke is banished from England by Richard, but returns following the death of her mother, Joan of Gaunt (Anne Kavanagh). Upon her return, she rallies nobles against the absent Richard, who is wasting the country’s money on a failing military campaign in Ireland. Realising that the odds are against him, Richard returns to England and relinquishes his crown to Henri, but is murdered shortly after by Bagot (Sally Cheng), a misinformed friend of Bolingbroke.

For the most part, Natasha Rickman’s direction keeps a calm and collected air, building tension and addressing the plot points with dignity and respect for the regality of the characters. However this seems to drop slightly during Act Two, with a few melodramatic moments that are not in keeping with the rest of the play, which unfortunately detracts from the nuance of the dialogue.

Daniel Burke and Laura Matthews engage their rivalry with proficiency and decorum, both delivering exquisite solo performances that are supported well by the rest of the company, namely Matt Pinches’ Bushy and Luke Latchman’s Duke of Aumerle. Sarah Gobran delivers an equally outstanding role in her performance as the conflicted Duchess of York, depicting the pressure of the character while also providing some mild comic relief.

The action is split between a main stage, and a smaller deck which is set among the audience, allowing for more intimate interaction, which is aided by Neil Irish’s simple yet effective design, the political backdrop of Westminster against which the modern retelling of betrayal and debauchery seems to fit. Lighting director Mark Dymock creates stunning visuals with his use of colour and intensity, all of which complement the set design, and the use of the space of the church venue itself.

The production is given considerable thought in its conception and delivery, only falling short in a few places. The design complements the concepts behind the work but it is the cast that add the polished performances necessary to carry the weight and history of the play, and deliver it to a modern audience.

Runs until 25 February 2023