By Madeline Sidgwick: Editor-In-Chief
Recently, my friend and I had the privilege of watching Nicholas Hytner’s production of
Shakespeare’s Richard II at the Bridge Theatre in London. I have studied Shakespeare in the past
but only seen one of the plays live before, so I was incredibly excited ahead of this production.
With staging in the round and nuanced performances from all, it is safe to say that I was beyond
impressed with the play.
Bridgerton and Wicked star Jonathan Bailey took on the role of, as the Bridge Theatre describes
him, the “charismatic, eloquent (…) dangerous and politically incompetent” Richard II. As a fan
of Bailey’s screen work, it was brilliant to witness his skills on stage. From capturing Richard’s
self-absorbed and witty nature, to delivering intense soliloquies, Bailey successfully portrayed
King Richard’s complexities.
Another stand-out performance came from Royce Pierreson, who played Henry Bullingdon.
Pierreson was not an actor that I had come across prior to the play, needless to say that his
portrayal of the incoming King Henry IV was impressive. If Pierreson is ever on a
Shakespearean stage again, I will be trying my best to get my hands on a ticket.
The sound and stage design must also be praised. Stylised to emulate the suspicious activities of
the stereotypical ‘London finance bro’, the play succeeded in bringing in modern elements to an
Elizabethan script. The sound design reminded me of the Succession theme track and fit with the
plot of the play incredibly well, specifically Shakespeare’s characterization of Richard. For a
play that was over two and a half hours long, I felt as if I was there for less than twenty minutes.
Overall, both the actors and production team behind the production of the play should be
commended, especially considering that my jaw dropped due to the intensity of the final scenes.
Whether you are a Shakespeare veteran or have never seen or studied a Shakespeare play before,
I highly recommend the Bridge Theatre’s production of Richard II.
Image of London Bridge Theatre: credit, Madeline Sidgwick