Richard III (2016)

Richard III (2016). Richard III: Directed by Rupert Goold, Robin Lough. With David Annen, Joseph Arkley, Osman Baig, Tom Canton. Almeida Theatre Live makes its debut broadcast with Richard III from the Almeida stage to cinemas in the UK and around the world, in association with Picturehouse Entertainment, produced by Illuminations Media.

“Saw this version of u0026#39;Richard IIIu0026#39; for primarily the cast, being a long-term admirer of both Ralph Fiennes and Vanessa Redgrave. Rupert Goold is also no stranger to Shakespeare and, being someone who loved his production of u0026#39;Macbethu0026#39; with Patrick Stewart and the u0026#39;The Hollow Crownu0026#39; version of u0026#39;Richard IIu0026#39;, there was no doubt that he would do Shakespeareu0026#39;s best known historical play at least well. A fine play it is too, not one of my favourites from the Bard, but lots of memorable scenes and lines and an even more memorable titular character.u003cbr/u003eu003cbr/u003eThis is not the best production of u0026#39;Richard IIIu0026#39; seen. There is a preference for the Laurence Olivier, Ian McKellen and u0026#39;The Hollow Crownu0026#39; versions and the condensed animated version (as part of u0026#39;Shakespeare: The Animated Talesu0026#39;) and the BBC Television Shakespeare one are well worth checking out too. This production is not great or flawless and is not one of the best that Goold has ever done, but there are a lot of admirable and well done things about it.u003cbr/u003eu003cbr/u003eu0026#39;Richard IIIu0026#39; (2016) looks very atmospheric for one thing, not lavish or beautiful but it didnu0026#39;t need to be. It is minimalist but also suitably dark and unyielding, which suits the storyu0026#39;s tone very well. Itu0026#39;s very nicely shot too. Standing out on the visual front though is the dusky but also ominous lighting. Adam Corku0026#39;s hauntingly spine-shivering music score is an ideal fit. The staging on the most part absorbs, with menacing and emotionally investable character interactions and detailed characterisation. It has tension and emotion, while the climax made the hairs on the back of my neck stand up.u003cbr/u003eu003cbr/u003eMost of the performances are extremely good. Redgrave is an authoritative and refreshingly soft spoken Margaret. Finbar Lynch is a calculating yet understated Buckingham. Susan Engel is an imperious Duchess of York. And Aislin McGuskin is a fiery and wounded Elizabeth.u003cbr/u003eu003cbr/u003eWas mixed to positive on Fiennes. He definitely has the presence for the title role and is in full command of the text, which he delivers with intensity and his Richard is suitably menacing and unsettling. Against all those fine qualities though, there could have been more variety in the interpretation as well as more emotional variety.u003cbr/u003eu003cbr/u003eA lot of the staging is very well done, but there are a few questionable touches. Especially that pointless and head-scratching touch with Redgrave with the doll and the equally unnecessary and tasteless rape. The casting weak link is Joanna Vanderham, who looks bewildered the whole time as Anne and some of her line delivery veers on histrionic.u003cbr/u003eu003cbr/u003eIn conclusion, many great things but falls short of overall greatness. 7/10.”