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RICHARD III (BAM) Send This Review to a Friend
When a critic writes about “Richard III,” it may seem that an obituary notice might be more appropriate than a review, given the stream of killing perpetrated by the evil Duke of Gloucester in his climb to becoming King Richard III. This Richard is brought to life by the dynamic, no-holds-barred performance of Kevin Spacey in a Bridge Project production splendidly directed by Sam Mendes at the BAM Harvey Theater (January 10-March 4, 2012). There is nothing tentative or subtle about Spacey’s portrayal. He makes Shakespeare’s Richard a heartless, conniving scoundrel whose personality is as twisted as his leg and his deformed, hunchback body.
This is Spacey’s show and he makes the most of the challenge. In Richard’s speeches to the audience, he lets us in on his diabolical plans to kill whomever stands in his way to assuming the throne. It is a vigorous physical performance, as well as a psychologically revealing one that traces the protagonist’s road to ultimate pathological frenzy. His performance in the second act, after he becomes king and must defend his ill-gotten throne, becomes perhaps too scenery-chewing crazed, but that is in keeping with the concept. Spacey’s final exit is a coup de theatre that shows him as an actor in one last endurance test.
The famous earlier scene in which Richard successfully woos Lady Anne (Annabel Scholey) is staged with intense sexuality, all the more striking since she knows that Richard has killed both her husband and his father. Richard doesn’t lack chutzpah.
The supporting performances are good overall. But as usual, some are better than others. What keeps the production on a high level, apart from Spacey’s unflagging acting, is the inventive staging. The curtain before the show opens bears the word “Now,” and indeed the play gets a contemporary look. A large video screen is used with special effectiveness as Richard is shown slyly cajoling demands that he take the throne while pretending he doesn’t want the responsibility. The video close-ups show how effective Spacey can be as a screen actor.
There are other modern touches, such a scene in which members of the public discuss events while simulated riding in the underground. Mostly the victims are dispatched without visible bloodshed, which makes for more creativity. The deep stage is used well, including as a battleground when a desperate Richard shouts his famous “my kingdom for a horse” cry. Music and drum beats are used to maximum effect.
There are various ways to play the title role, but Spacey has impressively carried through his own wickedly open portrait to the hilt. The result is a memorable triumph for him and the main reason for seeing this presentation, produced by BAM, The Old Vic & Neal Street. At the BAM Harvey Theater, 651 Fulton Street, Brooklyn. Phone: 718-636-4100
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