'Richard II' review — Jonathan Bailey is a magnetic king

Read our review of Richard II, starring Jonathan Bailey and directed by Nicholas Hytner, now in performances at the Bridge Theatre through 10 May.

Richard II is a part that has drawn the attention of many A-list actors over the years. Historically, John Gielgud is the performer most associated with the role, and in recent years, the crown has been donned by Eddie Redmayne (Donmar Warehouse, 2011), Ben Whishaw (in screen adaptation The Hollow Crown, 2012), and David Tennant (for the RSC, 2013). But it is the Bridge’s inspired casting of Wicked and Bridgerton star Jonathan Bailey as the wayward king that is likely to bring new audiences to Shakespeare’s history play.

Based on the deposition of King Richard II, and the rise of his pragmatist cousin Henry Bullingbrook (played by Royce Pierreson), Shakespeare’s tale notably eschews scenes of bloody battle to focus on the psychological undoing of England’s charming yet irresponsible king. And how charming he is when performed by Bailey, who brings all of his Bridgerton charisma to Nicholas Hytner’s modern-dress production, swaggering about the thrust/in-the-round stage — and even giving the audience seated in the circle a surprise, up-close treat.

From the first image of Richard carefully placing the gold crown upon his own head — with Grant Olding’s tinkling piano composition reminiscent of Succession’s now iconic opening credits — Bailey oozes entitlement and ego.

After Bullingbrook and Thomas Mowbray, Duke of Norfolk (Phoenix Di Sebastiani) are both banished, the playboy king rises from beneath a section of Bob Crowley’s well-crafted set, lazily looking out to the audience before knocking back liquor and doing a line of cocaine. He wildly and childishly impersonates Bullingbrook, riled by the drink and drugs. Bailey cleverly shows just how dangerous and hot-tempered his king is — and why loyal supporters such as his uncle the Duke of York (Michael Simkins) eventually ignore divine right and lend their support to Bullingbrook.

When Richard’s uncle John of Gaunt challenges his ability to rule, Bailey switches and becomes wild-eyed, dropping to all fours and snarling like a wolf. When that same uncle dies moments later, he hastily says a few words before proclaiming “now, enough of that”, his mood constantly changing as he arrogantly reclines on Gaunt’s hospital bed and plucks a grape from the bunch on his bedside table.

Later, when the crown is slipping from his fingers, Bailey’s Richard becomes meek and scared like a young boy, anxiously clutching his coat as he learns the Duke of York now supports Bullingbrook. He is prone to princely outbursts and cuts a dishevelled figure upon his return to English soil — which he woos like a long-lost lover — pulling his crown from a scrappy plastic bag to laughs from the audience. When Richard has lost all power and Bullingbrook asks, “Are you contented to resign the crown?” he whimpers like a child who’s lost his sweets to a playground bully. Bailey reveals and revels in all facets of this magnetic king and as Hytner has said in multiple interviews, he speaks Shakespeare “as though it is his first language”.

Bailey is aided by a strong supporting cast. Pierreson’s Bullingbrook is a cool and calculated foil to Bailey’s impulsive king, bringing a powerful renegade energy to the production with his band of rebels. Martin Carroll, who stepped in as John of Gaunt, is desperate in his final moments, pleading for his country, which is being ruined at the hands of Richard. Simkins, no stranger to the Bridge stage having recently starred in its production of Guys & Dolls, is a committed Duke of York, unfailingly loyal even when it means selling out his own son, the Duke of Aumerle. This leads to a humorous scene between the Duke, Duchess of York (Amanda Root), and Aumerle (Vinnie Heaven), as they plead Bullingbrook’s forgiveness, scuttling across the stage on bended knee.

There is no escaping that Shakespeare’s play is an almost entirely male production, but Root and Badria Timini bring passion to the roles of a loving mother and faithful bishop, respectively. However, Olivia Popica’s role as Queen Isabel, surrounded by her Harrods and Hermes bags, feels slightly lacking.

There is no question that Bailey’s star-casting will draw in audiences new to Shakespeare. But with his talent, and that of Richard II’s wider cast and creative team, it is likely they will become fans of the Bard, too.

Book Richard II tickets on LondonTheatre.co.uk

Photo credit: Jonathan Bailey in Richard II. (Photo by Manuel Harlan)