(Formerly the Whitehall Theatre)
For TRAFALGAR STUDIOS TWO, Click Here.
RICHARD III (play)
CONTAINS VIOLENCE, NOT SUITABLE FOR THOSE AGED UNDER 12 OR THE EASILY
OFFENDED. ALSO CONTAINS SMOKING AND DRY ICE EFFECTS.
Ends 27th September 2014.
Richard, Duke of Gloucester wants the English throne... he also wouldn't
mind widow Anne either. These are his machinations - and attempt to beat
the curse of Elizabeth about his death at the Battle of Bosworth.
Jamie Lloyd directs Martin Freeman (Richard III) and Gina McKee (Queen
Elizabeth) - both pictured above. Additional Cast includes: Simon Coombs
(Tyrrel), Philip Cumbus (Richmond), Gerald Kyd (Catesby), Paul Leonard
(Stanley), Forbes Masson (Hastings), Paul McEwan (King Edward IV/Bishop
of Ely), Mark Meadows (Clarence/Lord Mayor), Lauren O’Neil (Lady Anne),
Maggie Steed (Queen Margaret) and Jo Stone-Fewings (Buckingham).
Feature on Martin Freeman:
Design is by award-winning Soutra Gilmour, who previously collaborated
with Jamie Lloyd on the first Trafalgar Transformed season. Lighting
design is by Charles Balfour, with sound and music by Ben and Max
Ringham and fights by Kate Waters.
The first in a new season of "Trafalgar Transformed" productions.
Not available. Reports are that the set is too cramped, the joke of setting it
during the 1970s "Winter of Discontent" a little too far (though luckily not so
far as to set it in the post-Christmas sales of a camping store - 'Now is the
Winter of our Discount Tents,' luckily). Star attraction Martin Freeman doesn't
annoy any professional reviewer very much. A few note a lack of charisma, more
that he fits the director's concept accurately, and all hope he'll play more
Shakespeare in the future.
For the rest, the violence is well done, but the cut text felt to move too
quickly. There's praise for Gina McKee as a Queen Elizabeth who has to be
restrained at one point. Also Lauren O'Neil as Lady Anne, Maggies Steed as mad
Queen Margaret and Jo Stone-Fewings as Buckingham. Oh, and not forgetting the
exit of Clarence (Mark Meadows) too.
Basically, it's inventive, and a new and energised approach hopefully
interesting a new audience. Not perhaps for purists or scholars, but a brave
venture, seems to be the verdict.