His
years as artistic director here (1995-2005) have given Mark Rylance a
keen responsiveness to the preferences and behaviour of Globe
audiences. They like to enjoy themselves, even when attending more
serious dramas (I have seen Angelo sexually assault Isabella in
Measure For Measure to the
accompaniment of laughter). So it is that Rylance’s Richard of
Gloucester in Tim Carroll’s “original practices” production is a
deadpan, grim comedian. Rylance can get a laugh on pretty much any line
simply by beginning it with a mock-diffident stammer, and Richard’s
relationship with the audience is one not just of complicity but
playfulness. It’s like watching Bobby Ball mastermind a
coup d’état.
This can misfire. The Globe crowd, always keen to join in given a
particle of opportunity, roar their approval of Richard’s stage-managed
bid for the crown in Act 3, making a nonsense of Shakespeare’s account
that it has scant popular support. In the final phase, when the now
enthroned Richard seems to run out of jokes, the audience is not
prepared to accept and match the growing earnestness onstage. Other
dubious notes occur elsewhere in the cast. With young men playing the
female roles, Samuel Barnett and Johnny Flynn succeed as white-leaded
queens, Flynn’s Lady Anne paralysed in despair at Richard’s coronation
even as he plans her murder; but James Garnon’s Duchess of York is a
girning battleaxe (albeit a remarkably contrasting doubling of roles,
as Garnon also plays the noble, humble Richmond). Surprisingly, Roger
Lloyd Pack’s poker face only pays off in the role of Buckingham when he
and Richard discuss the aforementioned public claim for the crown; the
rest of the time he shows uncharacteristically little individuality.
For the most part, though, Carroll’s staging works well on its own
terms. Also prominent in the cast is Paul Chahidi, doubling as the
too-trusting Lord Hastings and the later-acts henchman Sir William
Tyrrell. Doubling is the order of the day: a cast of 15 may seem
numerically large by modern standards, but in a Shakespearean history
it allows for little fleshing out of court scenes, never mind armies or
civilian crowds; once again, the audience is pressed into willing
service. And, as the principal box-office draw, Rylance supplies a
lesser but palpable reprise of the maverick charisma that made him an
international star in
Jerusalem.
If the production concentrates more on momentary effect than on
long-term subtleties, that is to some extent the nature of performance
in the Globe environment: whatever it might set out to be, in the event
you have to accept that it is what it is, or else accept being
dissatisfied.
Written for the Financial
Times.