Richard III by William Shakespeareoldvictheatre-assets.s3.amazonaws.com/assets/File/1559.pdf1 Richard III by William Shakespeare Teachers’ Resource Pack Researched & written by Simon

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Richard III by William Shakespeare

Teachers’ Resource Pack Researched & written by Simon Pollard

Interviews & additional material provided by associate director Bruce Guthrie

Richard III at The Old Vic 3

Shakespeare: His Story 4

Chronology: Shakespeare’s Career 5

Synopsis 6

The Houses of York and Lancaster Family Tree 8 Character Breakdown 9 The Story So Far: Shakespeare’s Wars of the Roses 12 Richard III: Fact vs Fiction 13

Themes & Major Interests: Power 14 Contemporary Resonances 14 Cursing 14 Dreams & Prophecies 15 Richard’s Deformity 15 Ghosts 16

A Rough Guide to Shakespeare 17

In conversation with... GT Upchurch 19 Gemma Jones 20 Chuk Iwuji 21 Tom Piper 22 Sam Mendes & Kevin Spacey 23

Rehearsal Notes 24

Bibliography 26

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RICHARD III – TeACHING ReSOURCeS

Richard III Contents

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WilliamShakespearewasborninStratford-upon-Avononadatethatiswidelyacknowledgedtobe23April1564.HisfatherJohnShakespearewasaglove-maker,andhismotherMaryArdenwasalocalheiress.Althoughthereisnoevidencetosupporttheidea,itisthoughtthatShakespeareprobablyattendedthegrammarschoolinStratford,wherehewouldhavebeengivenastrongclassicaleducation.

HemarriedAnneHathaway(alocalwomanwhowaseightyearsolderthanhim)inNovember1582.Annewasalreadypregnantatthetimeandgavebirthsixmonthslatertotheireldestchild,Susanna.InJanuary1585Annegavebirthtotwins,JudithandHamnet.

ItisthoughtthatshortlyafterthebirthsofthetwinsShakespeareleftStratfordforLondon.Rumourhasitthatthiswastheresultofhimbeingcaughtpoachingdeer.OnceinLondon,Shakespearebegantoestablishhimselfasanactorandaplaywright.

Shakespearedidn’tpublishhisplayshimself,theywerewrittendownandpublishedbyotheractorsandassociatesaftertheyhadbeenperformed,soitisdifficulttoknowinwhichorderhewrotethem.However,itismostlikelythathisfirstplaywasthecomedyThe Two Gentlemen of Verona,closelyfollowedbyThe Taming of the Shrew.However,afterwritingthesetwoItalian-basedcomedies,ShakespearedecidedtoturnhisattentionstoEnglishHistory.

ItisnowthoughtthatthefirsthistoryplayShakespearewrotewasThe First Part of the Contention of the Two Famous Houses of York and Lancasterin1590,closelyfollowedbyThe True Tragedy of Richard Duke of York and the Good King Henry the Sixthin1591.ThesearetheplaysthateventuallybecameknownasHenry VI: Parts Two and Three.Duetotheirsuccesswithaudiences,in1592hewroteHenry VI: Part Oneasaprequel,beforecompletingthecyclewithRichard IIIin1592–3.

TheFirstTetralogy(asthishistorycyclebecameknown)undoubtedlycontainssomeofShakespeare’searliestworkasaplaywright;therawandearthydialogueoftheHenry VIplayssuggestawritergraduallyexploringanddevelopinghiscraft.BythetimehewroteTheSecondTetralogy,whichchartstheearliercycleofEnglishhistory,coveringthereignsofRichard II,Henry IV andHenry V,hiswritingstylehadbecomemorepoeticandcomplex.ButinRichard IIIwebegintoseeShakespeareconstructingapsychologicallycomplexcentralcharacter,flawedyetcharismatic,perhapspavingthewayforfutureShakespeareantragicheroessuchasHamletandMacbeth.

Shakespearewentontowriteatotalof38plays,notincludingcollaborationswithotherplaywrights,aswellas154sonnetsandfournarrativepoems.

Hediedon23April1616athishouseinStratford-upon-Avon.

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Shakespeare His Story

1564 – WilliamShakespeareisbornon23AprilinStratforduponAvon.

1582 – ShakespearemarriesAnneHathaway.

1583 – Shakespeare’sfirstchild,Susanna,isborn,justsixmonthsafterherparents’wedding.

1585 – Shakespeare’stwins,JudithandHamnet,areborn.

1589-90 – Shakespearewriteshisfirstplay,The Two Gentlemen of Verona.

1590-91 – Shakespearewritesanothercomedy,The Taming of the Shrew,andbeginswritinghisfirstcycleofHistoryplays,withHenry VI Part Two.

1591 – Henry VI Part Three

1592 – ShakespearewritesaprequelforhisHenryVIplaysHenry VI Part One.HealsowriteshisfirstTragedyTitus Andronicus.

1592-93 – ShakespeareconcludestheFirstTetralogywithRichard III. Healsowritesthepoem Venus and Adonis.

1593 – Shakespearebeginstowritehiscollectionofsonnets.

1593-94 – The Rape of Lucrece(poem)

1594 – Shakespearewritesanothercomedy,The Comedy of Errors,andthereisevidencetosuggestthathemayhavecollaboratedwithotherwriterson Edward III.

1594-95 – Love Labour’s Lost

1595 – ShakespearebeginshissecondcycleofHistoryplays,returningtothestartoftheWarsoftheRoseswithRichard II.HealsowritesA Midsummer Night’s Dream andRomeo & Juliet.

1596 – ShakespearewritesKing John. HisonlysonHamnetdiesattheageof11.

1596-97 – The Merchant of VeniceandHenry IV Part One

1598 – The Merry Wives of Windsor and Henry IV Part Two

1598-99 – ShakespearewritesthecomedyMuch Ado About NothingandtheconclusiontotheSecondTetralogy,Henry V.

1599 – Julius CaesarandAs You Like It

1600-01 – Hamlet

1601 – The Phoenix and the Turtle (poem)

1601-02 – Twelfth NightandTroilus and Cressida

1604 – Measure for MeasureandOthello

1605 – King Lear

1606 – Antony and Cleopatra, Timon of Athens and Macbeth

1606-07 – All’s Well That Ends Well

1607 – Pericles

1608 – Coriolanus

1609-10 – The Winter’s Tale

1610-11 – Cymbeline

1611 – Shakespearewriteswhatisconsideredbymanytobehisfinalplay,The Tempest.

1612-13 – IthasbeensuggestedthatShakespearecollaboratedwithotherwriterstowritetheplaysCardenioandHenry VIII.

1613 – The Two Noble Kinsmen,allegedlyacollaborationbetweenShakespeareandJohnFletcher,iswritten.

1616 – Williamdiesonhisbirthdayaged52.

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Chronology Shakespeare’s Career

ACT I

TheplaybeginswithRichard,DukeofGloucester,aloneonstage.Headdressestheaudiencedirectly,tellingusthatalthoughhisbrotherEdwardisthereigningKingofEngland,heintendstobekinghimself,andwillstopatnothingtoachievethisgoal.Helamentsthefactthatheisphysicallydeformed,buttellsusthatthismakeshimallthemoredeterminedtosucceed.

HisfirsttargetishisbrotherClarence,whohasbeenarrestedonsuspicionofplottingEdward’smurder.AfterClarenceisledawaytotheTowerofLondon,RichardrevealstoushisintentiontomarryLadyAnne,thewidowofHenryVI’ssonPrinceEdward,whomRichardmurdered.

LadyAnneentersasshejourneystoburyKingHenryVI.MuchtoAnne’sdistress,Richardbeginstowooher,deflectingwithcomplimentseachoftheinsultsshethrowsathim.Heoffersherhisknifeandtellshertokillhim,butsheisunabletodoit.Defeated,shetakeshisringandexits,leavingRichardalonetocelebratehisvictory.

Meanwhileatthepalace,QueenElizabethandherfamilydiscusstheKing’shealth.ShetellsthemthatifEdwarddies,thenRichardwillbeProtector.RichardentersandbeginstoarguewithElizabeth.HenryVI’swidowQueenMargaretentersandputscursesonallofthem:thatElizabeth’ssonEdwardwillbekilledashersonEdwardwas;thattheLordsRivers,GreyandHastingswillalldieearly;thatRichardwillbeplaguedbyguilt,betrayalandnightmares;andthatBuckinghamwillbebetrayedbyRichard.

Wheneveryoneelseleaves,RichardisvisitedbytwomurdererswhomheinstructstogototheTowerandmurderClarence.AttheTowerofLondon,ClarencetellshisguardBrakenburyaboutanightmarethathehadinwhichhedrowned,havingbeenpushedoffashipbyRichard.Whenhegoesbacktosleep,thetwomurderersenterandBrakenburyreluctantlyleaves.ThemurderersdebatewhetherornottokillClarenceashesleeps,butwhenhewakesup,oneofthemstabshimbeforedrowninghiminavatofwine.

ACT II

RichardtellstheroyalfamilythatClarenceisdead.Edwardisovercomewithguiltthathedidnothingtopreventthemurder,andexitswithElizabeth.Shequicklyre-enters,accompaniedbytheDuchessofYork,withthenewsthatEdwardhasdied.AstheymournEdward’sdeath,Buckinghamencouragesthemtolooktothefuture,andtheymakeplansforEdward’sson’scoronation.

MeanwhileElizabeth,heryoungestsonRichardofYork,theBishopofElyandtheDuchessofYorkawaitnewsofPrinceEdward’sarrival.LordStanleyarrivesandtellsthemthatRiversandGreyhavebeenarrestedandsenttoPomfretCastle,atthecommandofRichardandBuckingham.Elizabethrealisesthatsheandherfamilyareindanger,andsotheBishopescortsherandyoungYorktosanctuary.

Act III

PrinceEdwardarrivesinLondonandiswelcomedbyRichardandBuckingham.DespitetheBishopofEly’sprotests,BuckinghaminstructsHastingstofetchYorkfromsanctuary.Whenhearrives,RichardsuggeststhattheboysaretakentostayattheTowerofLondon.RichardandBuckinghamexpresstheirconcernthatHastingswillnotsupportRichard’sclaimtothethrone,andaskCatesbytofindoutwherehisloyaltieslie.RichardtellsBuckinghamthatwhenheiscrownedKing,hewillmakehimEarlofHerefordtothankhimforhisloyalty.

Hastingsiswokenintheearlyhoursofthemorningbyamessenger,askinghimtomeetwithStanley,whoisconcernedaboutRichard’sintentions,beforetheday’sCouncilmeeting.Hastingsdismissesthemessenger,tellinghimthatStanleyhasnothingtofear.CatesbyentersandtellsHastingsthathethinksRichardisplanningonmakinghimselfKing.HastingsisshockedandtellsCatesbythathewouldratherdiethanseeRichardcrowned.StanleyarrivesandtheyleavefortheCouncilmeetingtogether.

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Richard III Synopsis

AtPomfretCastle,RiversandGreyareabouttobeexecuted.TheyprotesttheirinnocenceandrealisethatMargaret’sprophecyhascometrue.RiverspraysthatherpropheciesforRichard,BuckinghamandHastingswillalsocometrue,andthatElizabethandtheprinceswillbesaved.

TheCouncilmeettodiscussthecoronationofyoungEdwardV.RichardrevealshiswitheredarmtotheCouncil,andclaimsthatElizabethhasbeenpractisingwitchcraftandhascastaspellonhim.RichardaccusesHastingsofbeingatraitorforseemingtodefendElizabethandsentenceshimtodeath.AstheCouncilleave,HastingsalsorealisesthatMargaret’scursehascometrue,andhehimselfprophesiesthatRichardwillbringaboutEngland’sdownfall.

RichardandBuckinghaminvitetheMayorofLondontomeetwiththemandshowhimtheexecutedHastings’shead.TheyreassurehimthatHastingswasatraitorandthathisdeathwasabsolutelynecessary.AftertheMayorleavestopassthisinformationontothecitizensofLondon,RichardandBuckinghamplottospreadarumourthattheyoungprincesareillegitimate,aswasEdwardIV,makingRichardtherightfulheirtothethrone.

RichardandBuckinghamstageaconversationinfrontoftheMayorandcitizensofLondon.Richardpretendsheisatprayer,andinitiallyrejectsBuckingham’ssuggestionthatheshouldbeKing,claimingloyaltytotheprinces.However,heiseventuallypersuadedandthecitizenscelebrateRichard’simminentcoronation.

Act IV

ElizabethandherfamilyarriveattheTowertovisittheprincesbuttheyareforbiddenfromseeingthem.AnneistakentoWestminstertobecrownedQueen,andpredictsthatshewillbeRichard’snextvictim.DorsetfleestoFrancetojoinwithRichmond.

AfterRichardiscrowned,hearrangesAnne’smurder,andplotstomarryhisnieceElizabethinordertosecurehisplaceonthethrone.AfterBuckinghamrefusestohelphim,RichardhiresSirJamesTyrreltomurdertheprinces.RichardignoresBuckingham’srequestsforthetitlehewaspromisedandthenrefuses.BuckinghamrealiseshislifeisnowindangeranddecidestofleetoWales.

ElizabethandtheDuchessofYorkmournthedeathsoftheprincesandarejoinedbyQueenMargaret.Theydiscusstheirvariousbereavements,theyhavealllosttheirhusbandsandchildrenoverthecourseoftheWarsoftheRoses,andtheyrealisethatRichardisthesourceofalloftheirwoes.Withallhercursesnowfulfilled,MargaretdecidestoreturntoFrancebutbeforeshedoessheteachesElizabethhowtocurse.RichardentersandtheDuchessofYorktellshimshewishesshehadstrangledhimatbirth,beforecursinghimandleaving.RichardthentellsElizabeththathewantstomarryherdaughter,PrincessElizabethinitiallyfightsagainsthimbuteventuallyrelentsandagreestotalktoherdaughterabouthisproposal.However,unbeknownsttoRichard,ElizabetharrangesforherdaughtertomarryRichmondinstead.

Act V

AsBuckinghamisbeingledtohisexecution,hereflectsonhispastwrongdoingsrealising,likemanyofRichard’svictims,thatMargaret’scursehasonceagainexacteditselfandhedeservesthebeheadingheisabouttoface.

HavingnowarrivedinEnglandandmarchedtoTamworth,Richmondaddresseshisfollowers,promisingtodefeatRichardandreturnEnglandtoitsformerglory.Despitehavingfewersoldiers,Richmondrallieshistroops,tellingthemthattheyhaveGodandhopeontheirside.

Thenightbeforethebattle,bothRichardandRichmondsetuptheircampwiththeirfollowers.Whilebothmensleep,theyarevisitedbytheghostsofRichard’svictims,whocurseRichardto‘despairanddie,’andgiveRichmondtheirblessingtowinthebattle.Richardwakesfromhisnightmareandreflectsonhisguilt.Richmond,ontheotherhand,hassleptpeacefullyandisfeelingupliftedbyhisdream.Bothmenarmthemselvesforbattleandaddresstheirsoldiersastheyheadtofight.

Onthebattlefield,Richard’shorsehasbeenkilledandhenowfightsonfoot.Richmondentersandtheyfighteachother.RichardiskilledandStanleyremoveshiscrown,presentingittoRichmond,whoreflectsonthebloodshedoftheWarsoftheRosesandpromisesthathismarriagetoPrincessElizabethwillunitethehousesofYorkandLancasterandthatEnglandwillfinallyliveinpeace.

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Richard III Character Breakdown

Richard, Duke of GloucesterRichardistheyoungestsurvivingbrotherofKingEdwardIV.Heisphysicallydeformed,butisfiercelyintelligentandaveryablesoldier,havingalreadymurderedKingHenryVIandhissonPrinceEdwardbeforetheactionoftheplaybegins.HeishungryforpowerandplotshiswaytobecomingKingofEngland.Heismanipulativeanddevious,butalsocharmingandcharismatic,andfrequentlyaddressestheaudienceashisclosestallies.HemarriesPrinceEdward’swidowLadyAnne,orchestratesthemurderofhisbrotherGeorge,DukeofClarence,andafterthedeathofhiseldestbrotherEdwardIV,healsoarrangesthemurdersofhisyoungnephewsEdwardVandRichard,DukeofYork.BythetimeheiscrownedKingRichardIII,hehasalsobeenresponsibleforthedeathsofeveryoneelsewhohasposedasathreat:QueenElizabeth’sbrotherLordRivers;hersonLordGrey;LordHastings;hisclosestfriendandallytheDukeofBuckingham;andhiswifeLadyAnne.Themoresuccessfulheis,themoreinsecurehebecomes,andstartstobehaveincreasinglyirrationally.HeshowssomesignsofguiltthenightbeforetheBattleofBosworth,aftertheghostsofthosewhohehaskilledvisithimandpredictthathewillbedefeated.Thefollowingday,heiskilledinbattlebyhisrivalHenry,EarlofRichmond,whoiscrownedHenryVIIandbecomesthefirstTudorking.

George, Duke of ClarenceClarenceistheolderbrotherofRichardandyoungerbrotherofKingEdwardIV.AtthebeginningoftheplayheisfalselyaccusedofplottingtomurderhisbrotherandhenaivelytruststhathisotherbrotherRichardwillhelptodefendhim.ImprisonedintheTowerofLondon,ClarencedreamsthatheisdrowningandislaterstabbedandthendrownedinavatofwinebytwomurderershiredbyRichard.

King edward IVEdwardisthereigningKingofEnglandatthebeginningoftheplay.HeismarriedtoElizabethWoodvilleandhastwoyoungsonsandadaughter.AfterbeingconvincedthathisbrotherClarenceisplottingtomurderhim,andasaresultofdivisionsinhiscourtbetweenhisfollowersandhiswifeandherfamily,hishealthrapidlydeclinesandhedies,leavinghissonPrinceEdwardasKing.

Queen elizabethElizabethWoodvilleisEdwardIV’swife,andQueenofEngland.Theirmarriagehascausedcontroversyfortworeasons;firstly,becausesheisawidow,andsecondlybecausesheisthefirstcommonerinBritishhistorytomarryamonarch.Shehastwosons(theMarquessofDorsetandLordGrey)fromherpreviousmarriage,andhastwoyoungsonsandadaughterwithEdward.SheandRicharddonotlikeortrusteachother.Sheisfiercelyprotectiveofherchildrenand,afterthemurderofheryoungsons,sheletsRichardbelievethathecanmarryherdaughterPrincessElizabeth.However,shesecretlypromiseshertoRichmond,helpinghiminhisquesttooverthrowRichard.

Prince edward & Richard, Duke of YorkEdwardandYorkarethesonsofKingEdwardIVandQueenElizabeth,andRichard’snephews.Afterhisfather’sdeath,PrinceEdwardisbroughttoLondoninpreparationforhiscoronation,whilstYorkistakenintosanctuarybyhismother.Edwardtriestobehaveasmaturelyaspossible,whilstYorkisplayfulandcheeky.AtRichard’sinsistence,YorkistakenoutofsanctuarytostaywithhisbrotherattheTowerofLondon.Afterspreadingtherumourthatbothoftheboysareillegitimate,Richardarrangestheirmurder,andtheboysaresuffocatedastheyaresleeping.

Duchess of YorkCecilyNeville,theDuchessofYork,isthemotherofEdwardIV,ClarenceandRichard.Shehadafourthson,Rutland,whowasmurderedatQueenMargaret’scommandduringanearlierbattlebetweentheHousesofYorkandLancaster,andherhusband,RichardDukeofYork,wasmurderedbyMargaretherself.BytheendofRichardIII,theDuchesshasmournedthedeathsofseveralmembersofherfamilyand,afterrealisingthatheronlysurvivingsonRichardisthecauseofmanyofthem,placesacurseonhim.

Lord Rivers, Lord Grey and the Marquess of DorsetRiversisQueenElizabeth’sbrother,andGreyandDorsetarehersonsfromherpreviousmarriagetoSirJohnGrey.AskeymembersoftheWoodvillefamily,theyhavemadeseveralenemieswithinthecourtofEdwardIVduetothepowertheyhavebeengivenasaresultofElizabeth’smarriagetoEdward.OntheirwaytoescortPrinceEdwardtoLondon,RiversandGreyarearrestedandexecuted,undertheinstructionofRichardandBuckingham.Dorset,actingontheadviceofhismother,fleestoFrancetoassistRichmond.

The House of York

Queen MargaretMargaretofAnjouisthewidowofKingHenryVI,whowasmurderedbyRichardintheTowerofLondon.HeronlysonPrinceEdwardwaskilledonthebattlefieldbyRichardandhisbrothers.AttheendofHenry IV Part ThreesheisbanishedtoFrance,butreappearsinRichard IIItowatchthedeclineoftheHouseofYork.Sheisbitterandvengeful,placingacurseonallthoseinvolvedinthedeathsofherhusbandandson,buthercursesaregreetedwithdisbeliefandlaughter.However,aseachofherpropheciescometrue,hervictimsbegintoseethetruepowerofhercurses.Afterthemurderoftheprinces,shemeetswithQueenElizabethandtheDuchessofYork,celebratingintheirgrief,beforeteachingElizabethhowtocurseandthenreturningtoFrance.

Lady AnneAnneNevilleisthewidowofHenryVI’ssonPrinceEdward.SheisfirstseenmourningthedeathofHenryVI,buthergrievingisinterruptedbyRichardwhoattemptstowooheroverHenry’scorpse.Althoughinitiallydisgustedandenraged,sheeventuallyrelentsandagreestomarryhim.Resignedtoherfate,shepredictsthatRichardwillsoondisposeofherand,shortlyaftertheircoronation,RichardarrangestohaveherpoisonedsothathecanmarryhisnieceElizabeth.

Henry, earl of RichmondRichmondisLordStanley’sstepson,livinginFrance,havingfledtherewithmanyotherLancastriansfollowingthecoronationofEdwardIV.HeisanillegitimatedescendantofRichardII’suncleJohnofGaunt,DukeofLancaster,andsohashisownclaimtothethrone.WithStanley’shelp,hearrangestomarryPrincessElizabethinordertostrengthenhisclaim.Ashegainsmoresupporters,includingDorset,ElyandBuckingham,hetakeshisarmytoEngland,leadingthemintotheBattleofBosworth,whereheisshowntobeareligious,optimisticandstrongleader.HekillsRichardandiscrownedHenryVII,thefirstTudorKing,thusendingtheWarsoftheRoses.

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The House of Lancaster

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Other Characters

Duke of BuckinghamBuckinghamisRichard’sclosestally,assistinghimwithhisascenttothethrone,playingacrucialroleintheexecutionsofRivers,GreyandHastings.LikeRichard,heismanipulativeandcunning,althoughheisnotquiteasruthless.RichardpromiseshimthatwhenheisKing,BuckinghamwillbegiventheEarldomofHereford.However,whenherefusestobeinvolvedinthemurderoftheprinces,Richardbreakshispromiseinanger.BuckinghamreturnstohishomeinWalestoraiseanarmytofightonRichmond’sside,butisarrestedandexecutedatRichard’scommand.

Lord HastingsWilliam,LordHastingsisEdwardIV’sLordChamberlain,actingasspokesmanandadvisortotheKing.However,heisanenemyoftheWoodvillefamily,andatthebeginningofRichardIIIhehasjustbeenreleasedfromprison,havingbeenarrestedonElizabeth’ssuggestion.HeallieshimselftoRichardafterEdward’sdeath,butnaivelytellshiscouncillorCatesby,unawarethatCatesbyisspyingonhimonRichard’sbehalf,thathewillfighttothedeathtoprotectEdwardV’srighttothethrone.HavingreceivedthisnewsfromCatesby,RichardaccusesHastingsoftreasonataCouncilmeetingandHastingsisbeheadedsoonafter.

Lord Stanley, earl of DerbyLordStanleyisamemberofthePrivyCouncil,andisoneofthefirstcharacterstovoicehisconcernsregardingRichard.HecleverlypretendstostayloyaltoRichard,butsecretlyplotswithhisson-in-lawRichmondtohavehimoverthrown.WhenRichardbeginstodoubtStanley’sloyalty,hetakeshissonGeorgeasprisoner,promisingtoreleasehimonlyifStanleystaysloyal.AttheBattleofBosworth,Stanley’sarmyfightsonRichmond’ssideand,followingthedeathofRichard,GeorgeStanleyissafelyreturnedtohisfather.

Sir William Catesby & Sir Richard RatcliffeCatesbyandRatclifferemainloyalfollowersofRichardrightupuntilhisdeath.Theyarebothruthlessanddriven:CatesbybetraysHastings,byactingasaspyforRichard,andRatcliffeunsympatheticallyoverseestheexecutionsofmostofRichard’svictims.AttheBattleofBosworth,RatcliffehelpsRichardprepareforbattle,andCatesbytriestoassisthimonthebattlefieldafterhishorseiskilled.

Bishop of elyElyisareligiousandloyalman,providingcomfortandadvicetoQueenElizabeth,andescortingherandhersontosanctuary.HeexpressesconcernatsomeofRichard’sactions,includingtheremovalofYorkfromsanctuary,andeventuallyjoinsRichmond’sforcesinFrance.

Sir Robert BrackenburyBrackenburyistheKeeperoftheTowerofLondon,whoseroleitistoguardtheprisoners.HecomfortsandreassuresClarence,andreluctantlyallowsthemurderersaccesstohimwhilstheissleeping.

The Lord Mayor of LondonTheMayorrepresentsthecitizensofLondon,soisseenbyRichardandBuckinghamasanimportantally.FollowingthedeathofHastings,theypersuadehimthatHastingswasatraitorwhosedeathwasnecessary,inthehopethathewillspreadthismessageamongstthecitizens.Eithernaively,orwaryofwhatmayhappentohimifhedoesnotcomply,theMayorobligesand,alongwithBuckingham,helpstopersuadethecitizensthatRichardshouldreignasking.

Sir James TyrrelTyrrelisdescribedbyCatesbyasamanwhowoulddoanythingforgold,andheagreestoarrangethemurderoftheprincesinthetower.However,afterhehearsthereportoftheirmurderfromthemenhehashiredandseestheirbodiesforhimself,heseemsfullofregretandpity.

Richard IIKingRichardIIbanisheshiscousinHenryBolingbrokeafterheaccusesanothernoblemanofmurderingtheiruncle.AfterthedeathofBolingbroke’sfather(JohnofGaunt,DukeofLancaster),RichardalsoseizesBolingbroke’sinheritance.BolingbrokereturnstoEngland,havinggatheredsupport,andforcesRichardtohandoverthecrowntohim.Havingbeendeposed,RichardistakentoPomfretCastlewhereheismurderedbySirPiersExton,thinkingheisactingonbehalfofBolingbroke.Onhearingthenewsofthemurder,Bolingbroke,nowcrownedKingHenryIV,disownsthecrime,andvowstotakeacrusadetorepentforRichard’sdeath.

Henry IV Part OneCivilwarbreaksoutinEnglandunderHenryIV’srule,withthemainrebelfactionledbyHenryPercy,or‘Hotspur.’Meanwhile,HenryIV’ssonHalhasnowishtohelphisfather,insteadchoosingtospendhistimewithagroupoflower-classfriendsincludingarogueknownasFalstaff.EventuallyHenrymanagestopersuadeHaltojoinhim,andHalkillsHotspur,successfullydefeatingtherebels.

Henry IV Part TwoThreeyearslater,therebelforcesonceagainriseupagainstHenryIV,whoisnowseriouslyill.PrinceHalandhisyoungerbrotherPrinceJohnleadtheKing’sarmiesandsuccessfullyquashtherebellion.Havingmadepeacewithhisson,HenryIVdies,leavingHaltotakethethrone.Hopingtobehonouredbyhisfriend,FalstaffgoestoLondonbutisrejectedbythenewlycrownedHenryV.

Henry VNotcontentwithsimplybeingKingofEngland,HenrydecidestoconquerFrance.Beforeheleaves,hesuccessfullydealswithagroupofconspiratorswhoareplottingtoassassinatehim.InFrance,hebesiegesthetownofHarfleur,butwhenhesuffersheavylosses,hedecidestoreturntoEngland.However,theFrencharenowreadyforbattle,sotheKingleadshisseverelydepletedtroopstovictoryattheBattleofAgincourt.HearrangeswithKingCharlesofFrancethathewillmarryhisdaughterKatherineandthathewillinheritthethroneofFranceonCharles’sdeath.

Henry VI Part OneBynow,HenryVhasdied,andFranceandEnglandareruledbyhisyoungsonHenryVI,andhisProtector,theDukeofGloucester.However,theyfacerebellioninbothcountries:theFrenchrebelsareledbyJoanofArc,andinEngland,anargumentbreaksoutinagardenbetweenRichardDukeofYork,whobelieveshehasaclaimtothethrone,andtheLancastrianDukeofSomerset,whoencouragetheothernoblespresenttopluckawhiteroseiftheysupporttheHouseofYork,andaredroseiftheysupporttheHouseofLancaster.York’spotentialrebellionistemporarilyrepressedwhenheissenttohelpdefeatJoanandtheFrenchrebels.TheEarlofSuffolkarrangesthemarriageofHenrytoMargaretofAnjou,whomheloveshimself,andthroughwhomhehopestobeabletocontroltheKing.

Henry VI Part TwoSuffolkplotstogetridofGloucester,whilstYorkcontinuestoplotagainsttheKing,recruitingtherebelJackCadetoleadarevolt.WhenGloucesterismurdered,HenrybanishesSuffolk,withwhomhiswifeMargaretishavinganaffair.Suffolkislaterattackedandmurderedbypirates.JackCade’suprisingisunsuccessful,butYorkdeclareswaronHenryandmurdersSomerset,astheHousesofYorkandLancastergotobattle.

Henry VI Part ThreeHavingbeendefeatedinbattle,HenryreachesanagreementwithYork;thathewillcontinuetoruleuntilhisdeath,atwhichpointYorkwillbecrownedKing.MargaretisfuriousthatHenryhasdisinheritedhersonEdward,andsoleadsanarmyherselfagainstYork.ShehashisyoungestsonRutlandmurdered,beforehumiliating,torturingandkillingYorkherself.However,York’seldestsonEdwardleadstheYorkistarmy,imprisoningHenryintheTowerofLondon,andtakingthecrownforhimself.InabattleatTewkesbury,Edward,withhisbrothersClarenceandRichardmurderHenry’ssonPrinceEdward,butspareMargaret’slife,banishinghertoFranceinstead.ThenewlycrownedEdwardIVmarriesacommoner,ElizabethWoodville,whogivesbirthtoason.MeanwhileEdward’sbrotherRichardofGloucesterbeginstoplotagainsthim...

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The Story So Far Shakespeare’s Wars of the Roses

RichardThereisverylittlehistoricalevidencetosuggestthatRichardwasahunchbackand,givenhisundoubtedabilityasasoldier,hecouldnothavehadanarmwithered‘likeablastedsapling.’However,mosthistoriansagreethatheprobablywasunusuallysmallandslightlydeformed,withhisrightshoulderslightlyhigherthanhisleft.SeveralhistoricalaccountslinkhimtothedeathsofHenryVIattheTowerofLondonandHenry’sson,Edward,onthebattlefieldatTewkesbury.

ClarenceThereislittledoubtthatRichardwastacticalandmanipulative.WithhisbrotherClarencemarriedtoWarwick’sdaughterElizabeth,RichardmarriedWarwick’seldestdaughterAnne,preventingClarencefrominheritingallofWarwick’sestate.Historicallyhowever,Clarence’sarrestwasnotarrangedbyRichard.ClarencehimselfhadbeenplottingagainstEdward,incitingriotsagainsthimandcastinghoroscopestodiscoverwhenEdwardandhissonswoulddie.ThereisnoevidencetosuggestthatRichardorderedClarence’smurder.

edward IVEdwardsufferedfromsevereindigestion,anddiedastheresultofwhatwasprobablyastroke.

The Woodville FamilyRivers,GreyandDorsetallheldimportantroleswithinthegovernment.RiverswasPrinceEdward’sgovernorandProtector,butEdwardIV’swillstatedthatRichardshouldinsteadbemadeProtector.RicharddidtakepowerofftheWoodvilles,persuadingthepublicthattheydidnothaveEdwardV’sbestinterestsatheart.HehadRiversandGreyarrestedwithouttrialand,tomakemattersworse,hehadtheirnakedcorpsesthrownintoacommongrave.

HastingsHastingswasnotalliedtotheWoodvillesbut,astheLordChamberlain,hewasoneofEdwardIV’sclosestfriendsandsostayedloyaltoEdwardV.Accordingtomostsources,RichardhadhimarrestedafterhedefendedhismistressJaneShoreandQueenElizabethagainstRichard’saccusationsofwitchcraft.

Lady AnneAlthoughShakespeare’sAnneisthewidowofPrinceEdward,shewasneveractuallymarried;theyweresimplybetrothedtoeachother.ItdoesseemstrangethatAnneshouldmarryRichardgiventhattherewererumoursthathewasinvolvedwiththedeathofherfiancéandhisfather,butthereisnowaythatwecanknowanythingabouttheirpersonalrelationship.Shakespeareomitsthefactthattheyweremarriedfor13yearsandthattheyhadason,whodiedattheageof11.ThereisalackofanyhistoricalevidencetosupportthenotionthatRichardplannedtomarryhisnieceElizabethandhadAnnepoisoned.

BuckinghamBuckinghamwasoneofRichard’sclosestallies.However,onceRichardwascrowned,hedetachedhimselffromhimandledanunsuccessfuluprisingagainsthim,possiblybecause,asShakespearesuggests,hewasnotgiventheearldomofHereford,orpossiblybecausehenolongerwantedtobeassociatedwithakingwhohadbecomesounpopular.

The PrincesThemajorityofsourcessuggestthatRicharddidmoveEdwardVfromhislodgingsatStPaul’sCathedraltotheTowerofLondonandconvincedtheArchbishopofCanterburytopersuadeElizabethtolethisyoungerbrotherYorkjoinhim.However,wewillneverknowexactlywhathappenedtotheprincesinsidetheTower,exceptthattheydisappeared.Thediscoveryoftheskeletonsoftwoboys,agedapproximately10and12,foundinachestburiedbeneathastaircaseintheTowerin1674,suggeststhattheyweremurderedaroundthetimeofRichardIII’scoronation,butthereisnosurvivingevidencetosupportthetheorythatitwasRichardwhohadthemkilled.

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Richard III Fact vs Fiction

ThankstoShakespeare,history’sRichardIIIwillforeverbeseenasahunchbackedmurderer;buthowaccurateisShakespeare’sportrayal?ThehistoricalsourcesShakespeareusedasthebasisforRichardIII,primarilyRaphaelHolinshed’sChronicles,havefacedaccusationsofbeingexamplesofElizabethanpropaganda,writtentocelebrateElizabethI’sfamilyandtostrengthenherplaceonthethroneasthegranddaughterofHenryVII.Thisbiasedaccountisfrequentlyreferredtoas‘TheTudorMyth’.InattempttoredressthebalanceandpresentRichardinamorefavourablelight,TheRichardIIISocietywasfoundedin1924.ThesocietyresearchesalternativehistoricalsourcesinanattempttoraisepublicawarenessofthefactthattheRichardofhistorymayhavebeenverydifferentfromtheShakespeareanvillainwithwhomweareacquainted.

PowerManyofShakespeare’sTragedies,andallofhisHistories,areconcernedwiththeshiftingofpower,frequentlyshowingindividualsgraduallygainingpower,andthenstrugglingtoretainit.InthecaseoftheHistories,thepowerinquestionistheEnglishMonarchy.InHenry VI Part Two,thetitlecharactersays:‘Uneasyliestheheadthatwearsthecrown,’andShakespeareexploresthisuneasinessthroughoutbothofhishistorycycles.

InRichard III,wearepresentedwithfiveEnglishkingsatdifferentpointsduringthecourseoftheplay.WecantracethearcofpowerfromthecorpseofHenryVI,tothedyingEdwardIV,tohisdoomedsonEdwardV,andontoRichardIII,beforesettlingwiththevictoriousHenryVII.Powerisseenassomethingtransient,thatdoesn’tlastforanygreatdealoftime,andthatultimatelykillsthosewhohavehadit.Themessageseemsclear;gainingpowerleadstolosingpower,andlosingpowerleadstodeath.

ThroughoutShakespeare’splays,powerisrepresentedsymbolicallybythethroneandthecrown.Richard’srisetopowerisonlytrulycompletewhenheascendsthethroneandputsonthecrown.Similarly,Richmond’svictoryisconfirmedwhenStanleyhandshimRichard’scrown.Thesephysicalobjectsrepresentthematerialworthofhavingsuchpower.InRichard II,RichardagreestohandoverthetitleofkingtoBolingbroke,butfindsitmuchhardertoactuallyhandoverthecrown.

InRichard III,Shakespeareexploresthevariousfactorsthatcontributetobeingpowerful.Weseethatpowerasamonarchcomesfromnotonlyhavingaworthyclaimtothethrone,butfromhavingsupportfrominfluentialnobles,beingpopularwithcitizensandfrombeingstronginbattle.

Ofcourse,thereismoretopowerthanmonarchyand,inRichard III,itcouldbearguedthatthemostpowerfulcharacterisQueenMargaret.Shemaybephysicallyfrailandnolongerholdanyclaimtothethrone,butherwordshavethepowertocondemnherenemiestodeathanddespair.

Contemporary ResonancesInrehearsals,thecastandcreativeteamtalkedagreatdealaboutdictatorsincontemporarysociety.ItisnotdifficulttoseetheresonancesbetweenRichardIII’sbarbaricregime,andthoseofleaderssuchasColonelGadaffiinLibyaandHosniMubarakinEgypt.LikeRichard,thesemenhaveusedtheircharismaticpublicpersonastomasktheiractsoftyranny.DirectorSamMendesreflectsthat‘it’sinterestingtoobservehowsuchfigurestendtoarrivewithareputationforconfident,even-handedcommunication,promisingorderinatimeofchaos.Butthenofcourseoncetheyachievepower,thedegreeoftheircorruptionisrevealed.’

CursingQueenMargaretistheonlyShakespeareancharactertoappearinfourplays.AnyonereadingorwatchingtheFirstTetralogyfromHenry VI Part OnetoRichard IIIwouldseeherdevelopmentfromfeistyyounggirltoalonelycursingwidow.IntheHenry VIplaysweseeMargaretasasoldieronthebattlefield,defendingherson’srighttothethronebygruesomelymurderingEdwardofYork,andhelpingwiththemurderoftheyoungRutland.However,althoughshenolongerfightsphysically,sheisatherstrongestandmostdangerousinRichard III.

InActIVScene4,MargaretandtheDuchessofYorkrepeatthenamesoftheirdeadhusbandsandsons,inanalmostritualisticlament.Thisconstantrepetitionbuildsadramaticintensitybetweenthetwowomen,andinitslistingofthevictims,remindsusofthecyclicalnatureofdeathandpower.

Shakespearemakesitclearthatforhisfemalecharactersthereisalinkbetweenbereavementandempowerment,withcriesofgriefquicklyturningtovengefulcurses.MargaretshoutsandscreamsatpeoplethroughouttheHenry VIplays,buthersonPrinceEdward’sdeathendowsherwordswithgreaterintentandimbuesthemwithanextraordinarypower.Anne,havinglostherhusband,entersintoafiercebattleofwitswithRichard,duringwhichsheunwittinglycursesherself.ElizabethispowerlesstostopRichard’sonslaughtofviolence,butafterthedeathoftheprinces,shegainsthestrengthtotrickRichardandplotshisdownfallwithRichmond.TheDuchesshaslivedtoseeherhusband,sonsandgrandsonsmurderedand,whenshefinallyspeakstoherson,shecurseshiminanactwhichultimatelybringsabouthisdownfall.

YetthecursingusedinRichard III isunusual.CursingwouldtraditionallyinvolveinvokingeitherGodortheDevil,butthewomeninRichard IIIdoneither.Nordotheyseemtoemployanytypeofwitchcraft.InstructingElizabethto‘Thinkthatthybabeswerefairerthantheywere,/Andhethatslewthemfoulerthanheis’,Margaretseemstodrawonapowerthatcomesnotfromanysupernaturalordivineorder,butfromsomewherewithinherself.

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Themes & Major Interests

Dreams & PropheciesInElizabethanEngland,dreamswerenotseenasexpressionsoftheunconsciousmind,butasomensorpremonitions,andShakespearemadegreatuseofthisbeliefthroughouthisComedies,TragediesandHistories.Althoughtheaudiencearerarelyshownthesedreams,whentheyhearthedescriptionofacharacter’sdream,theyareencouragedtointerpretthesymbolismitcontains.Indoingsotheyaregivenaclueastohowtheactionmayunfold,frequentlycreatinginstancesofdramaticirony.

ClarenceClarencedreamsthatheisonashipwithhisbrother,discussingtheirpreviousbattlesoftheWarsoftheRoses.RichardstumblesandpushesClarenceoverboard.Asheisdrowning,Clarenceseesthebodiesofthousandsofdrownedmen,scatteredwithgoldandpreciousstones.Hisfather-in-law,theEarlofWarwick,andPrinceEdward,whomhehelpedmurderattheBattleofTewkesbury,appeartohimandcondemnhimtoHell.

StanleyClarencetellsRichardthatoneofthereasonshehasbeenarrestedisbecauseEdwardIVhashaddreamsandprophecies.Lateron,AnnetellsElizabeththatsheiskeptawakeatnightbyRichard’s‘timorousdreams.’Therearealsofrequentreferencestopropheciesthroughouttheplay,withMargaretbeinghaileda‘prophetess’aseachofhercursescometrue.Perhapsmostsignificantly,onhearingthatRiversandGreyhavebeenarrested,Elizabethhasavisionwheresheseesatigerkillingahind(adeer)andpredictsthedownfalloftheHouseofYork.

However,themostsignificantdreaminRichard IIIisasharedexperiencebetweenRichardandRichmond,inwhichthetwomenarevisitedbytheghostsofRichard’svictimsthenightbeforetheybattle.Richmondfeelsrefreshedbythesedreams,whereasRichardisleftinturmoil.

Richard’s deformityAspreviouslymentioned,thereislittlehistoricalevidencetosupporttheideathatRichardIIIwasadeformedhunchback,butbychoosingtoconstructhiscentralcharacterinthiswayShakespearepaintsaveryvividandmemorablepicture,andgivestheactorplayingRichardagreatdealofphysicalandbehaviouralcluestothecharacter.

Inhisopeningspeech,Richarddiscusseshisdeformity,tellingusthathisbodyis‘curtailedofthisfairproportion,’‘cheatedoffeature’and‘unfinished,’andthatasaresultofthisdeformity,heis‘determinedtoproveavillain’.Hischoiceoftheword‘determinedposesaninterestingquestion.Hecouldbereferringtohisambition,meaningthathehasthedeterminationtobeavillain.Howeverhecouldalsomeanthathisfateasavillainhasbeenpredeterminedbyhisphysicalappearance.IsRichard’sdeformitythecauseorthesignofhisvillainy?

Atseveralpointsduringtheplay,itissuggestedthatRichardisdeformedbecausehewasbornprematurely.Hehimselfsaysthathewas‘sentbeforemytimeintothisbreathingworld’.Inrecenttimes,academicsandactorshavetriedtoidentifythemedicalconditionthatRichardmayhavebeensufferingfrom.Some,includingtheactorAntonySher,havesuggesteditisspinalpolio,acontagiousdiseaseaffectingthenervoussystem.Othershavedecidedthatscoliosis,aseverecurvatureofthespine,ismostlikely.

TheinsultsfrequentlylevelledatRichardfrequentlyalignhisphysicalappearancetothatofananimal.LadyAnnecallshima‘hedgehog,’whilstMargaretreferstohimasa‘hog,’a‘bottledspider,’anda‘poisonousbunch-backedtoad’.Actorsplayingtherolehavefrequentlydrawnonthesedescriptionsintheircharacterisation,withAntonyShermovingaroundthestagelikeaspiderfacilitatinghismovementwithcrutches,whilstSimonRussellBealeexhibitedatoad-likephysicality.

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GhostsGhostsfeatureheavilyinseveralofShakespeare’stragedies.Theyarefrequentlyassociatedwiththethemesofrevengeandguilt.Perhapsmostfamously,Hamletisvisitedbytheghostofhisdeadfatherwhoordershimtoavengehisdeath.InMacbeth,thetitlecharacterhashisfriendBanquomurdered,andisthenhauntedbyhissilentghost,representingthephysicalembodimentofhisguilt.

However,nootherShakespeareplayfeaturesasmanyghostsasRichard III.InActV,Scene3,theghostsofallofRichard’svictimsappeartohim.

Who are the ghosts?

ClarenceRichard’sbrother,andhisfirstvictimintheplay,ClarenceisstabbedandthendrownedinavatofwineattheTowerofLondon.

Lord RiversQueenElizabeth’sbrother,Rivers,isexecutedatPomfretCastle,alongwiththeQueen’seldestsonLordGrey.

Lord HastingsTheLordChamberlain,andinitiallyoneofRichard’sallies,Hastingsisaccusedoftreasonandisbeheaded.

Prince edward and Richard of YorkTheyoungprinces,Richard’snephews,aresuffocatedastheysleepattheTowerofLondon.

Lady AnneThewidowofHenryVI’ssonPrinceEdward,andlaterRichard’swife,AnneispoisonedbyRichardanddiesshortlyafter.

BuckinghamRichard’sclosestfriendandadvisorthroughouttheplay,Buckinghamisarrestedfortreasonandbeheaded.

WiththeexceptionofLadyAnne,allofthesedeathsareprophesiedbyHenryVI’swidowQueenMargaretinActI,Scene4,whereasLadyAnneactuallycursesherselfinActI,Scene2.InActV,Scene3,theghostsallplacetheircurseonRichard,eachendingwiththecry‘Despairanddie!’.TheythenappeartoRichmond,givinghimtheirblessingtowinthenextday’sbattle.Theseghostshavenophysicalpower,buttheirwordshaveadeepimpactonbothmen,endowingRichardwithhisfirstpangsofguiltandfillingRichmondwithconfidence,astheyenterintobattle.

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Shakespeare’s VerseThemajorityofShakespeare’swritingusestheiambic pentameter.Thisisametricallinewhichdividestensyllablesintofivepairs,mostfrequentlyfollowingthepatternof‘unstressed/stressed’.Itmirrorstherhythmsofthehumanheartbeatandfollowsthecommonpatternsfoundineverydayspeech.

Trysayingthefollowinglineoutloud,stressingtheunderlinedwords:− ‘Westressthewordswewanttheworldtohear’

NowthinkaboutsomeofShakespeare’smostfamouslines,anddothesameexercise:− ‘Ifmusicbethefoodoflove,playon’(Twelfth Night)− ‘Butsoft,whatlightthroughyonderwindowbreaks?’(Romeo & Juliet)

TherearelotsofmemorablelineswhichusetheiambicpentametertogreateffectinRichard III.Forexample:− ‘Myhorse,myhorse,mykingdomforahorse!’

Inthemajorityofcases,itisthemostimportantwordsthatarestressed.

Shakespeare’s ProseProsereferstoastyleofwritingwhichisnotpoetic,andthereforehasnosetrhythm.Wewouldmostfrequentlyassociateitwithcontemporarydramaandnovels.MostofShakespeare’splaysarewrittenusingacombinationofverseandprose.ThereareonlyfourplayswrittenentirelyinverseandtheyareallHistoryplays:Henry VI Part One,Henry VI Part Three,King JohnandRichard II.Asageneralrule,itisShakespeare’slowerclasscharacterswhospeakinprose;inRichard IIIitisusedbyClarence’smurderers.

Shakespeare’s GenresTraditionally,Shakespeare’splayshavebeendividedintothreecategories:

The ComediesTypicalThemes: Romance,MistakenIdentityandFamilyCharacteristics: Cross-dressing,unrequitedlove,shipwrecks,oftensetinItalyEnding: Marriage

The TragediesTypicalThemes: Power,DoomedLove,andDeathCharacteristics: Theriseandfallofaflawedcharacter,murder,dramaticironyEnding: Death

The HistoriesTypicalThemes: Power,FathersandSons,andWarCharacteristics: CharactersnamedafterEnglishtownsandcounties,battlesEnding: DeathorCliffhanger

However,severalofShakespeare’slaterComedies,suchasThe Tempest,Measure for MeasureandThe Winter’s Tale,arenowfrequentlyreferredtoas‘ProblemPlays’or‘tragicomedies’toreflectthefactthattheydonotsitcomfortablywithinanyofthesetraditionalgenres.

Someplaysevenalignthemselveswithmorethanonegenre.Richard IIIisobviouslyoneoftheHistories,butitsfulltitle,The Tragedy of King Richard III,indicatesthatthestoryofRichard’sriseandfallfollowsthemodelofatraditionalShakespeareantragedy.

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A Rough Guide To Shakespeare

Shakespeare’s LanguageHaveyoueverwrittena‘loveletter’?Playedwitha‘puppydog’?Waitedwith‘batedbreath’?Orbeenavictimof‘thegreen-eyedmonster’?Ifyouhave,youhaveShakespearetothankforgivingyouthephrasetodescribetheexperience!ShakespeareiscreditedwithcoininghundredsofphraseswhichhavesinceestablishedthemselvesaspartofEnglishspeech.Healsoinventedhundredsofwordsincluding‘assassination,’‘bedroom’and‘puke.’

Shakespeare’s InsultsNowhereisShakespeare’screativeuseoflanguageingreaterevidencethaninhisinventiveinsults.SomeofhisstrongestandmostoffensivefeatureinRichard III.

− ‘Thoulumpoffouldeformity!’− ‘Outofmysight!Thoudostinfectmyeyes!

Aknotyouareofdamnedbloodsuckers!’− ‘Foul,bunch-backedtoad!’− ‘Thouelvish-marked,abortive,rootinghog!’

Vocabulary Guide for Richard III

Bastardisawordusedtodefineachildwhoisborntounmarriedparents,andmostfrequentlyreferstoachildwhosepaternityiscalledintoquestion,andisthereforeclassedasillegitimate.InRichard III,RichardandBuckinghamtrytospreadtherumourthatEdwardIVandhissonsEdwardandYorkareallbastards.

The BoarreferstotheemblemofthewhiteboaronRichard’scoatofarms.TheboarwasoneofthemostdangerousandaggressivewildanimalsinMedievalEngland,anditssymbolismwouldnothavebeenlostonElizabethanaudiences.AsRichardisreferredtoasa‘hog’severaltimes,thelinkisfrequentlymadebetweenhimandhisadoptedemblem.

CouncilreferstothePrivyCouncil,agroupofimportantpoliticalandreligiousfigureswhogathertogethertoadvisethemonarch.ThePrivyCouncilstillexistsintheUnitedKingdomtoday,althoughitsfunctiondiffersfromwithinthecontextofRichard III.FullCouncilmeetingsareonlyheldifamonarchbecomesengaged,oriftheydie.InRichard III,theCouncilmeetsfollowingthedeathofEdwardIVtodiscussthecoronationofEdwardV.

Plantagenet referstothefamilylinefromwhichtheHousesofYorkandLancasterarebothdescended.TherewerefifteenPlantagenetmonarchsintotal,startingwithHenryIIin1154,andendingwithRichardIIIin1485.

Protectorreferstoapositionheldbyamemberoftheroyalfamilyorgovernment,whoactsastheheadofstatewhenamonarchisconsideredtooyoungorilltoreign.InRichard III,EdwardIV’swillnamesRichardashisson’sProtector.

PomfretreferstotheYorkshiretownandcastlenowknownasPontefract.RichardIIwasmurderedinPomfretCastleatthebeginningofTheWarsoftheRoses,anditisatthissamecastlethatRiversandGreyareexecutedunderRichard’sregime.

Sanctuarycanrefertoeitheraconsecratedareawithinachurch,or,morefrequentlyinRichard III,totherightheldbythoseindangertoshelterwithinareligiousbuilding.Apersonclaimingsanctuarycouldnotbetouchedbytheirenemies,orbythelaw.Althoughsanctuarywasmostfrequentlyreservedforcriminals,inRichard III,whenQueenElizabethrealisesthatsheandherfamilyindanger,sheandheryoungestsonYorkclaimsanctuaryinWestminsterAbbey,temporarilyprotectingthemselvesfromRichard.

The TowerreferstotheTowerofLondon,whichuntilthebeginningoftheTudorperiodservedadoublepurpose;asaroyalpalaceandaprison.HenryVIwasimprisonedandmurderedbyRichardintheTower,andinRichard III,Clarenceandtheyoungprincesareallmurderedthere.

Zoundsisanexclamationofsurprise,originatingfromthephrase‘God’swounds.’

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You were the Artistic Associate on the previous two years of The Bridge Project; how was that?Fantastic,it’sbeenanamazingjob.IthinkoneofthegreatthingsabouttouringShakespearearoundtheworldisthatalotofthecountriesthatwevisitedhaveseenShakespeareproductionsbuttheyhaveneverseentheminEnglish,intheoriginallanguage.Andeveniftheaudiencedidn’tspeakEnglishorwereusingsurtitlestofollowthedialogue,theystillappreciatedhearingtheplayinitsoriginalrhythm.Thatwasexciting.

Were the responses quite different from country to country?Yes,theywere.Thereareculturaldifferencesinhowaudiencesappreciatedcertaincharactersandcertainpartsofthestory.ForexamplewhenwewereinSingapore,SineadCusackwasapplaudedonherexitfromherPaulinasceneinThe Winter’s Tale,becausetoseeawomantakecontrolofaroomandspeaktoakingthatwaydelightedtheminaparticularway.ItwasalsoquiteshockingtothemthatPerditaandFlorizellgotmarriedwithouttheirparents’permission.Thatpartoftheplotwasthrillingandexcitingtothatparticularaudience.

In terms of the different venues that you played, what were some of the challenges that you experienced?ThevaryingstagesizeswasoneofthebiggerchallengesintermsofputtingtheshowsintoparticularvenueslikeAucklandandSingapore,whicharevast,andthengoingintotinyjewelboxtheatresinEurope.TheTheatreMarigny,Pariswastinyandrequiredustochangethefurnitureandsomestagingaroundinsomescenesastherejustwasn’tenoughroomonstage.That’salwaysthefunpartoftakingashowaroundtheworld;youhavetotaketheprojectapartandre-examineiteachtime,whichIfeelwasexcitingfortheactors,andalsobeneficialinawaybecauseitneverstagnates.Samisthekindofdirectorwhoisquitehappyforpeopletokeepexploringandfindingthingsanddevelopingtheircharacters,whichoftengotdeeperaswetravelled.

Had you done a lot of Shakespeare before you came to this?No,IhaddirectedaproductionofRomeo & Julietbutit’squitehardasanemergingdirectorinNewYorktogetajobdoingShakespeare.Becauseoftheamountofcastandtheexpenseoftheproject,itsadlydoesn’thappenasmuchasIthinkitshould.ItwasthrillingformetowatchSamputtheseproductionstogetherandbeapartofthat.I’velearnedalot.

What would you say would be an enduring memory that will stay with you about The Bridge Project over these last three years?MyfavouritememoryofTheBridgeProjectwouldbebeinginEpidaurus,theendingvenueofthefirstyeartour.There’ssomethingverymagicalaboutthatplace.PerformingThe Winter’s TalethereinwhichthecharactersbringontheoraclefromDelphi,whichisliterallytwoandahalfhoursawayfromwherewewere,wasoneofthemostmagicalmomentsintheatrethatIcaneverimagine.Wewereallsatunderthecanopyofthestarswith12,000people.Itwasgorgeous.

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In conversation with... GT Upchurch Artistic Associate of The Bridge Project

When did you first happen upon Shakespeare?TheveryfirstplaythatIdidprofessionallywastheMerchant of Venice,whichIdidatNottinghamplayhouse.IplayedPortiaandIabsolutelylovedit.ButthefirsttimeIreallygothookedandthought‘Ohgosh,Iwanttodomuchmoreofthis’wasplayingOpheliainHamlet,whichIdidattheBirminghamRepTheatrewithanactorcalledRichardChamberlain,whoyoungpeoplewon’tknownow,butatthetimehewasaveryfamousAmericanactorandwasinanAmericanseriescalledDrKildare.HewasbroughtoverfromAmericaandhewasveryhandsome,sotherewasalotoffocusandattentiononthisproduction.IgotsomenicenoticesforplayingOpheliaandIwouldn’tmindplayingGertrudewhoI’veneverplayed.I’veonlydoneHamlettheonce;it’sawonderful,wonderfulplay.

What is it that appeals to you about Shakespeare?Psychologicallyit’sverycontemporary;youcanresearchintothepsychologyofthecharactersjustasyouwouldforamodernplay.Andthearchetypalstoriesarejustsomoving.

How as an actor do you combat the language in order to make it clear for an audience?Well,itcanbereallydifficultandIdon’talwaysfinditeasymyself.Ihopethatasanactoronefindsaway,becauseifthethoughtprocessisclearthenthemeaningshouldbeclear.Itdoesn’tnecessarilymatterifpeopledon’tunderstanditwordforword,aslongastheygettheintentionandthemeaningofit.SometimesIgotoseetheatreproductionsandIcan’thearproperlybecausetheintentionsaren’tclear.OurdirectorSamMendessaysyouabsolutelyhavetothinkontheline,notbetweenthelines.Incontemporarywork,ifyou’refilminganddoingtelevision,youdoalotofthinkingandthere’sthinkinginpauses,‘umming’and‘aahing’.WhereaswithShakespeare,ifyouplaytherhythmofthespeechandfocusontheoverallintention,thisisoftenfarclearerthanifyouendowitwithallsortsofcontemporarypausesandreflections.

You’re playing Queen Margaret: how do you feel about her and her role in the play?AsI’mtalkingtoyouit’sstillaworkinprogress,soit’shardformetodiscussreally.It’savery,verydemandingrolebecauseit’slikeanaria.Ican’ttalkaboutitasI’msonervous!

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In conversation with... Gemma Jones

Tell us about your previous experience with the History Plays.IplayedHenryVIwiththeRSC;wedidalleightoftheHistoryplaysandIplayedHenryVIinPartsOne,TwoandThreewhichofcoursecumulateswiththeemergenceofayoungRichardIII.It’squiteinterestingtoactuallybeinscenesthatIonlyhadanauralrelationshipwith,butit’sgreatbecausealotofthebackgroundofHenryVIhasmadeitswayintothisproduction.It’sgreattocomeintotheplayknowingtheyoungRichard,knowingthehistorythateveryone’stalkingabout,knowingthepoliticalturmoil.It’slikerevisitinganoldfriend.It’sfantasticjusthavingitonitsownastheimmediacyoftheplayisalmostheightened,becausewedon’thavetheluxuryofpeoplehavingseenHenryVI,PartsOne,TwoandThreebeforethis.Youhaveto,inthiscontainedplay,givethemthatexperienceinashorteramountoftime,sothere’ssomethingveryexcitingaboutthat.

What sort of role does Buckingham play?‘Kingmaker’isthebestwordtodescribeBuckingham.InthisproductionBuckinghamissomeonewhoisverypoliticallyastute,verydriven,veryambitious,andhisgoalistobethemanbehindthesceneswhopullsthestrings.Historyislitteredwithcharacterslikethat.Idon’tthinkheaspiresforthecrownbutheaspirestobethepersonbehindthecrown.Hethinksveryquicklyonhisfeet.HeandRichardareasortofdoubleacttogettothecrownuntilthingsgoallhorriblywrong,whichinevitablyinthisworldalwaysdoesbecauseit’saworldbuiltonlies.It’saworldbuiltonschemingwhicheventuallycomesaroundtocatchupwithyou.AsBuckinghamsays,inrelationtothewrongshe’sdone‘ThusdoesHeforcetheswordsofwickedmentoturntheirownpointsintheirmasters’bosom’:Ithinkthat’sverymuchathemeinthisplay.

Do you think that it’s fair to say that Buckingham does have limits? Despite his lust for power, is there a line that he won’t cross?Yes.AndthereiniswhereheandRichardhavetogotheirdifferentways,because,howeverdeep-seateditisinsidehim,Buckinghamdoeshavealimit.Hislimit,asweallseeintheplay,isthattherearecertainthingsheiswillingtodoandcertainthingshethinksareevenbeyondhim.Andunfortunatelyforhim,Richarddoesn’tfeelthesameway.

As an actor, do you have a different approach to Shakespeare as opposed to a more contemporary play?Inpreparation,notreally.Iapproachpreparationthesamewayasanyplay.ItrytoknowasmuchofthetextpriortorehearsalssothatIdon’thavetothinkaboutthetextwhenIgetintotherehearsalroom,andthenIcanplay.Shakespeareisdifferentbecausenooneelsedoesasmuchoftheworkforyouashedoes.ThenumberoftimesI’veattemptedcertainthingsandhitaroadblock,andthenrealisethatcomingbacktojustsayingthewordsandfollowingthestructureunlockseverything.Idon’tthinkI’veexperiencedthatinanyotherwriterasprofoundlyasinShakespeare.ShakespeareisawriterwhoIreally,reallytrust.Heallowsenoughspaceforanactortotrusthisinstinctsandusehisinstincts.Fortunatelyforushegivesussomanysignposts,somanyguidelines,somanylanestogodown,thatifyouactuallybreakitdownandgobacktohistextandfollowthetext,hegivesyousomanyclues.

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In conversation with... Chuk IwUji

How do you begin designing a play like this, particularly a Shakespeare play?IsupposethechallengeformeisthatIalreadydesignedthewholeeightHistoriesfortheRSC,soI’vedoneRichard IIIbutattheendofthestory.Formeit’sbeenabouttryingtoputawayallofthosesortsofthingsandstartthinking‘Howdoyouapproachthisplayasastandalone?’,andthenitdoesbecomeverymuchRichard’sstory.WhenyouseeRichardinthecontextoftheotherplays,hedoesn’tactuallyseemasmadandasbrutalbecauseyou’veseensomuchbrutalityintheWarsoftheRoses.There’snobodyinthisworldwho’sactuallyaninnocent.Sothenyouthink,howdowegettheworldoftheplaywithoutthatback-story?

SoIbeginbydoingalotofresearchandtalkingwithSam.There’samisconceptionsometimesthatdirectorsarriveandsay‘ThisishowIwanttodoit’,soyougoawayanddesignthesetandtheygo‘Ohthat’snice’.However,it’sactuallymuchmoreofacollaborative,two-wayprocesswhereyouexchangeideasanddevelopthemtogether.InitiallySamwaslookingforsomethingthathadaGrandGuignol,abigimpacttoit,potentiallyquitebigandgrotesque.Welookedatimagesofmorgues,welookedatoldwarehouses,infactattheverybeginninghewastalkingabouttherebeinglotsofTVscreensandsurveillance,soIexploredthoseideas.Asitwentalongwewentthroughvariousstagesandbegantofocusdownontheideaofasingleplayingspacethatcouldbemulti-purpose.Andsotheideaofthedoorsdeveloped.AtonepointImadethreedifferentversionsofthemodelwithdifferenttypesofdoors.

It’sinterestingaseverydirectoryouworkwithhasverydifferentapproachestotextandstaging,andSamisveryclearthatthereisananchorforeveryscene,thatitisrootedinthesenseoftheplace.OneofthegreatthingsaboutShakespeareisthatinasensehenormallytellsyouwhereyouare.Soalthoughtheaestheticwillendupbeingquiteparedback,oneofthechallengesishowwegetthedynamism,sothemomentumdoesn’tslowdown.OneofthethingsI’vefoundfromdoingalotofShakespeareisthatscenesshouldpileoneontotheother;veryoftenyoujoinasceneinthemiddleofitsoyoudon’tgettheleisureofthinking‘Ooh,hereweare’,insteadyou’rebangstraightintoitandthereisadangerwiththiswayofstagingit.I’mhopingthattheaudiencedon’tgetdoorfatigue!

What is it that excites you about Shakespeare’s work?Formeit’sthelanguage.It’smorethanjustbeautiful;itcanbeverycomic,itcanbeveryprofound,itcanbeverymoving.Itevokesthefullrangeofhumanexperience.I’vedoneotherJacobeanplaywrightswhojustdon’tquitehavethatability.Theycanbefunnybutyoudon’tgetmovedinthesameway.Shakespeareandhistyrants,inasense,theirfall,theircharismaiswhat’scompellingforus.They’recomplex,difficultpeoplebutultimatelyit’stheirstorythat’sgoingtomoveyou.Asadesigner,lesscanbemore.Youdon’tneedtorealiseeverysinglelocation,youcankeepitfluid;thelanguagewilltellyouwhereyouare.Soeventhoughwe’vegotlotsofdifferentfurnitureforthis,we’restillfundamentallyinthesamespaceallthetime.We’renotmovingwallsaroundorflyingpiecesintocreatedifferentlocations,soit’sactuallythewordsandwhattheactorscando,thatwilltellthestory.That’swhatIenjoy.

What is the role of the designer?Tocreatetheworldoftheplay.Theprocessisoneoftryingtoservetheplayandbringitsmeaningout,notinaworthywaybutinanexcitingwaythathopefullywillrevealthingsthattheaudiencehasn’tseenbefore.Ithinkthat’sthereasonwhywekeepredoingthesameplays.I’vedoneseveralofShakespeare’splays,andbecauseeachtimeyoudoit,you’reworkingwithanewgroupofpeople,andtheworldiscontinuallychanging.Newthingscomeintofocus.We’vebeendoingthisplayduringtheArabSpringuprisingandthereisn’treallyahintofthat,butweasanaudiencehaveseentyrantsbedisposed.Attheendofthisplay,youcouldwonder‘WillRichmondturnintoanotherdictator?’.

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In conversation with... Tom Piper Designer

Why did you select Richard III for the final year of The Bridge Project?Sam Mendes:WhenweconceivedtheideaofTheBridgeProject,wealwaysplannedthatKevinwouldactinthefinalyear.Castingandplaychoicesareoftenabouttimingso,forme,itwasaboutfindingavehicleforKevin.AndI’vealwaysthought,evenbeforeImethim,havingseenThe Usual SuspectsandSeven,thathereisatechnicallybrilliantactorborntoplayRichard.Idirectedthispieceabout20yearsagobutwhatultimatelyunlockedthechoicethistimewasthethoughtofKevinintherole.Iwantedhimtoaccessthattrulydarkpartofhimselfagain.

So how does it feel being asked to access the dark side?Kevin Spacey: Well,youhavetogotoplacesyougenerallydon’twanttogo,examineallthethingsinyourownlifethatyouregret,unearthalltheshit,forthisrole.Thenyouhavetohavethegutstoshareitwithanaudience,tosay,‘here,Ihavenothingtohidefromyou,nothingtobeashamedof,thisisthepersonIam,wartsandall.’Richardisanincrediblecharacterbecausehedoesallthethingshesetsouttodoandsayshewill,andissodelightedwiththeoutcomethatheconstantlyupstheante.Itisabigaskofanactorineveryrespect.It’saphysicallyandemotionallydemandingrole,onethatrequiresdexteritywithlanguage,andacommitmenttogiving150%.That’swhyI’vestoppeddrinking,smoking,everything,todedicatemyselftothischaracter.

As you have explored Shakespeare’s text, what contemporary resonances have become apparent?Sam: WhenyoudivorceRichard IIIfromthehistoryplays,takingitawayfromitsWaroftheRosescontext,itbecomesapiecelessaboutmonarchy,lessaboutEnglishhistory,andmoreaboutpower.Inasensethisisoneofthefirstgreatportraitsofamoderndictator.Itisastonishinglivinginthe21stcenturythattherearestillfigurestodayonthefrontpageofeverynewspaper,Gaddafi,forexample,orMubarak,whoareexactlywhatShakespearedescribedandanatomised400yearsago.StagingRichard IIIwithaninternationalcompanyallowsyoutoloosenthetiesthatmakeitpurelyEnglishand,indoingso,perhapsitbecomesalittlemoreglobal,astudyofdictatorship.It’sinterestingtoobservehowsuchfigurestendtoarrivewithareputationforconfident,even-handedcommunication,promisingorderinatimeofchaos.Butthenofcourseoncetheyachievepower,thedegreeoftheircorruptionisrevealed.

Kevin: Thethingthatisalwayssosurprisingaboutplayswritteninanothercenturyishowremarkablyelastictheyare.WhenyoulistentothewayinwhichShakespeareattacksrelationships,forexample,eventhoughthewordsmaystartoffsoundingforeign,inactualitytheyaresoaccessible,themotivationssoclear,theresonancessocontemporary.Whenyouputitinamoderncontext,wecouldwellbeinaplacewithsomeonelikeaGaddafiorMubarak,itbecomesapparenthowRichard IIIresonateswiththattypeofpersonality,withmediaandmanipulation,alliancesandpettyjealousies.Itisfascinatinghowrelevantitistoacontemporaryaudience,evenonethatmightnotknowShakespearewell.

What other qualities make the play special?Sam: InRichard IIIonehastheimpressionofayoungwriter,Shakespearecompletedtheplayfairlyearlyinhiscareer,exploringthemanystylisticopportunitiesthattheatreaffordshim.Soheconstructsscenesindifferentstyles.There’sanaturalisticdeathandaverystyliseddeath.Hewritesalmostritualisticscenesofmourningandveryfunnyscenesaboutpoliticalintrigue.Heisunafraidoforchestratingdissonantscenesinthisway,ofharnessinghighcomedyandthedeepesttragedy.That’sstillaprettydaringthing,aplayinamultitudeofstylesoutofwhichsomethingunifiedemerges.Thislendsthepiecemodernity.

How important is the relationship that Shakespeare orchestrates between Richard and the audience?Kevin:Unique,veryspecial,becauseRichardconfidesinhisaudience,andtheybecomehisco-conspirators.Shakespearequitebrilliantlyusesdirectaddressthroughoutmuchoftheplay.IfyoulookatthesceneafterhewakesfromhisnightmareinActV,itisstartlinghowmuchheiswillingtoreveal.There’saneedtoperhapssharewhatheisexperiencingandfeeling.It’sthefirsttimeyougetasensethathemighthaveaconscience,orfeelguilt,orregret.That’sexcitingtoexplore.

Sam: Shakespeareusestheatricalformsthatremainincrediblymodern,andoneofthemisdirectaddress.Hedoesn’treallyemploythismuchintheotherhistoryplays;hehasRichardllandHenryVtalkingtoGod,tothemselves,inatypeofinteriormonologue,aformofsoliloquy,butonlywithRichardandFalstaffdoyouhaveamanwalktothefrontofthestage,eyeballtheaudience,andsay‘you,youpeoplesittingintheseseats,I’mtalkingtoyoudirectly’.Itremainsdaring,evennow.

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In conversation with... Sam Mendes & Kevin Spacey Exploring the dark side: Sam Mendes and Kevin Spacey take a breather from rehearsals to discuss an iconic role and a play that resonates today

Extracts from Bruce’s rehearsal diary

Week 1Thereisagreatfeelingintherehearsalroom.Theactorshavebondedverywelltogether(whichisalwaysimportantwhenyouaregoingtobeworkingandlivingtogetherasacompanyforsuchalongperiodoftime)andthereisagreatworkingrelationshipbetweenSamandallofhisteam.Kevinseemstobeenjoyingtheprocesssofarandisverywellpreparedcomingintothisprocess.Fullofideasandbristlingwithenergy,heisacommandingpresencewhenperforming.HehasahugepassionfortheplayandindeedTheBridgeProjectitself.

Westarttheweekwitha‘meetandgreet’wherethecast,creativeteamandstafffromTheOldVicallmeettogetherintherehearsalroomtosay‘hello’toeachother.OurAmericancastmembersonlyarrivedafewdaysagosotheyhavethechallengeofhittingthegroundrunningsotospeak.KevinandSamtalkabitabouthowtheyfeelaboutTheBridgeProjectasawholeandthenwegetdowntobusiness;thereading.Thefirstreadingofaplaycanbenerve-wrackingbut,aswehavesuchagroundedandexcellentcast,thereadingisplayfulandveryclear.WegettolookatTomPiper’ssetdesign.Itisbotheerieandpracticalwithmany‘wow’factorsthatwillreallyaddtotheplayanddeepenthevisualexperienceaswellasenhancingtheclarityofthestory.BothheandSamtalkusthroughtheplanforeachscenebutSammakesitclearthatthisisupfordebateandthatalotwillchangeduringtherehearsalprocess.Ilikethisapproachasitallowsforcreativeideastobethrownintothemixandgivestheactorsthefreedomtoexploretheirsurroundingsandfindwhattheyneedtotellthestorybetter.ItalsomeansthatSamisnotlimitinghimselfshouldhehaveanotherideaonhowthesceneshouldwork.

Wetalkthroughtheplaywhilereadingit,clarifyinganymeaningsofwordsorphrasesinShakespeare’slanguage,aswellasobservingtheblankverseShakespearewritesin.Samalsoaskscastmemberstoparaphrasepassagesofthetextintheirownwords.Wetalkaboutthehistoryofthecharactersintheplay(bothfactualandinShakespeare’sversionofhistory).WediscussthemeritsofhistoricalfactbeingusedintheplayandSammakesitclearthatweareperformingtheplayofRichard IIIratherthanahistoricalaccountofRichard’sreign.Iagreewiththistotally.Whileitisinterestingtoknowthefacts,ifit’snotinthetextoritdoesn’thelptoenhancetheworldoftheplay,weshouldignoreit.Forexample,thereisnohistoricalevidencetosupporttheclaimthatRichardhadacrookbackoralimporawitheredleftarm.SammakesthepointthatitisalwaysagoodideatotrytosticktotheblankverseratherthantryingtonaturaliseShakespeare’swork.Whileheisnotnecessarilyopposedtothenotionofnaturalisingthetext,hedoespointoutthatitisusuallyclearerifweobservethebeatsashewrotethem.Thisisveryworthwhileasitensurestheactorsknowexactlywhattheyaresayingwhentheyspeakthelinesandthusitisclearertousasanaudience.

Week 2Havinggonethroughtheplaywhilesataroundatable,wenowbegintoputitonitsfeet.Acircleofcomfortablechairsandcushionsiscreatedintherehearsalroomandeachactorgetsupandactsoutascenewhenrequired.Thisismetwithamixtureofexcitementandterrorfromtheactorsatfirst.Theideaofbeingsoexposedandthepressureofperformingthesceneswellwitheveryonewatchingseemslikealottodealwithallatonce.KevindealswiththesituationbrilliantlyandgivesarousingrenditionofRichard’sopeningmonologue.Samthenstopshimfromcontinuingwiththesceneandgiveshimsomeexercisesandavarietyofsettingstoplaythespeechwith.Theseinvolvemanymembersofthecompanyandbecausetherehearsalprocesshasbeenputondisplayforalltosee,thenerveswithinthecompanydisappearandthereisasenseoffreedomtoplaywiththetextthatmaywellhavebeeninhibitedhadtheynotbeenputateasebythedemonstrationbyKevinandSam.

ItisaninterestingprocesswhichgivetheactorslicensetoofferupsuggestionsofhowtoplaythesceneandSamusesittoexperimentandtry’soutallsortsofdifferentdynamicstoscenes.Healsomakessuretheactorsknoweverythingtheyaresayingandmakesthemfeelverycomfortablewhileintroducingmanyofhisideasandconceptsfortheproduction.ItisamethodthatseemstopromotediscoveryandSamtreatsitlikeit’sabrandnewplay,exploringinterpretationandrelationships.UnlikeShakespeare’slaterplayswhicharemorecomplicatedintermsofplot,thereisnosubplotinRichard III:itisallaboutRichard’sriseto,andfallfrom,power.Wediscoverthatwhenweadheretotheblankverseandpauses

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Rehearsal Notes from Associate Director Bruce Guthrie

Shakespearehaswritten,itisremarkablyclearinmeaningandintention.

ThisisnotaprocesstorushthroughasIgetasenseoftheactorstakingownershipoftheplayasawhole.Sincemanyofthemareusedinseveralexercises,actorsplayingsmallerrolesareutilisedalotmorethattheymayhaveexpectedtohavebeen.Ithinkthiskindofownershipofaplayisveryimportantforactorsastheywillworkharderandcaremoreaboutthewholeplayratherthantheirownroleexclusively.

Week 3Wecontinuetoworkinthesamewayasattheendofthepreviousweek,anditcontinuestobebeneficial.Therearelotsofinterestingideascomingthrough,andtheactorsarereallymakingthescripttheirown.Relationshipsbetweencharactersarebeingmadeclear,andbitsoffurnitureandpropsarebeingintroducedtotheaction.

Samisworkinginmoreandmoredetailastheweekgoeson.AbrilliantnotefromSamisthat“nothingyoudoismoreimportantthanthenextthingyouwillsay”.ThisissuchanimportantnoteforplayingShakespeare.Thebeautyofitisinthespokenwordandthenarrative.ItissoopentointerpretationbecauseShakespearewroteveryfewlocationsorstagedirections.Thesortofquasicontemporarysettingreallyworksformeasitwillallowustocreateourownworldfortheplayandsoitallowsusalotofcreativefreedom.

SamalsointroducestheideathatMargaretispresentateachofthedeathsintheplaytowitnesshercursebeingcarriedout.Thisgivestheplayasupernaturaledgeandanominousfeelingabouttheconclusionoftheplay.ItalsocreatesanevenmoreeerieatmosphereduringthevariousexecutionsandabsolutelyhighlightstheimportanceofMargaretintheplay.SheisasortofCassandrafigureandawarriorQueendriventotheedgebydespairandgrief.Thewomenoftheplayareallflawedandtouchingintheirownways.Theirscenesareverystrong,evenatthisearlystageofrehearsal.HaydnisoffbookasElizabethandthismakesahugedifferencetoherperformance.Sheisabletoconcentrateoncreatingscenesandrelationshipswithotheractors.Eyecontactandlisteningarevitaltoperformance.Iftheactorsareengagedwitheachotherthentheaudienceisengaged;theycannotbethinkingaboutwhatcomesnext,butwhatishappeningthereandthen.Thisiswhatwecall‘beinginthemoment’.

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Websites

www.bardweb.netwww.bl.uk/treasures/shakespeare/richard3.htmlwww.bosworthbattlefield.comwww.ncbi.nlm.nih.gov/pmc/articles/PMC1633273/pdf/brmedj00495-0034.pdfwww.richardiii.nethttp://warsoftheroses.devhub.com

Books

Aughterson,The English Renaissance: An Anthology of Sources and Documents, 1998Boswell-Stone,Shakespeare’s Holinshed: The Chronicle and the History Plays Compared,2000Hammond,The Arden Shakespeare: Richard III,1981Hattaway,The Cambridge Companion to Shakespeare’s History Plays,2002Howard&Rackin,Engendering A Nation: A Feminist Account of Shakespeare’s English Histories,1997Kermode,Shakespeare’s Language,2001Norwich,Shakespeare’s Kings,1999Sher,Year of the King,1985WellsandTaylor,The Oxford Shakespeare: The Complete Works,2005

Articles/essays

Lee,‘QueenMargaret’sCurseonRichardofGloucester’,Shakespeare in Southern Africa,1994Lee,‘ReflectionsonPower:MargaretofAnjouandTheDarkSideofQueenship’,Renaissance Quarterly,1986

Other

TheOldVic,Richard IIIProgramme,2011BosworthBattlefieldHeritageCentre

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BIBLIOGRAPHY

http://www.bardweb.net

http://www.bl.uk/treasures/shakespeare/richard3.html

http://www.bosworthbattlefield.com

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1633273/pdf/brmedj00495-0034.pdf

http://www.richardiii.net

http://warsoftheroses.devhub.com