|
Performances * Richard III * The play * Direction * The company * Design * The tour * The Gallery * State of Design
|
|||||
 |
 |
||||
 |
|||||
 |
|||||
|
|
|||||
|
Production directed by Gerald Garutti and designed by Sabin Anca
2004 © State of Design Limited applies to all designs and graphics contained by this website. Please address further enquiries to the webmaster |
|||||
A history play — true to history?
The facts
Richard Plantagenet was born at Fotheringay on 2nd October 1452, the youngest son of the Duke of York. He was raised in the household of the Earl of Warwick with his brother George, Duke of Clarence, and Warwick's two daughters, Anne & Isobel, whom Richard and George later married. Unlike his brother George, Richard remained loyal to his brother Edward IV throughout his reign.
From 1471 Richard spent eleven years as Edward's lieutenant in the north, where he gained popularity and a reputation for fair dealing, basing himself at Middleham in North Yorkshire.
After the premature death of Edward IV on 9 April 1483, Richard ruled England for two years, initially as Lord Protector and soon as king in his own right, after Edward's sons were declared bastards. Richard was crowned king on 6 July 1483. He died just over two years later on 22 August 1485 at Bosworth Field.
The facts
Richard Plantagenet was born at Fotheringay on 2nd October 1452, the youngest son of the Duke of York. He was raised in the household of the Earl of Warwick with his brother George, Duke of Clarence, and Warwick's two daughters, Anne & Isobel, whom Richard and George later married. Unlike his brother George, Richard remained loyal to his brother Edward IV throughout his reign.
From 1471 Richard spent eleven years as Edward's lieutenant in the north, where he gained popularity and a reputation for fair dealing, basing himself at Middleham in North Yorkshire.
After the premature death of Edward IV on 9 April 1483, Richard ruled England for two years, initially as Lord Protector and soon as king in his own right, after Edward's sons were declared bastards. Richard was crowned king on 6 July 1483. He died just over two years later on 22 August 1485 at Bosworth Field.
A history play — true to history?
The dark legend
The dark legend
At the time Shakespeare was writing, there was little difference between history and story and the two terms were interchangeable. Shakespeare's history telescopes, changes and merges the chronology of events in his play, as well as misplacing and resurrecting characters and misinterpreting causes and motives.
Over the years, Richard III has been seen as the consummate expression of what EMW Tillyard called the Tudor myth bolstering the Tudor dynasty, justifying their claims to royalty and traducing the regime which came before. Shakespeare took his information and his views from a range of writers including Polydore Vergil, Thomas More, Ralph Holinshed and Edmund Hall who had between them and 'successively from age to age' created the image of Richard III that we have in Shakespeare's play: what Paul Murray Kendall calls, the 'monster of dissimulation whose raven wings shadow all the world'. Thomas More, upon whose History of King Richard III subsequent writers based their versions, lived in the household of John Morton. Morton, the Bishop of Ely in Shakespeare's play, was one of Buckingham's co-conspirators and later joined Henry Tudor against Richard III.
Henry VII began his defamation of Richard III as soon as the battle at Bosworth Field (22 August) was over by dating his reign from the day before (21 August) and therefore branding all Richard's nobles as traitors. In that way, he attainted Richard's supporters and was able to confiscate their lands with impunity, thereby augmenting his treasury, asserting his right to rule and assuring little if any objection to his supercession. Just as importantly, he also repealed Titulus Regius, the parliamentary petition to Richard laying out his right to the throne, and demanded the destruction unread of all copies.
Unfortunately for Richard, history is always written by the winners.
Richard III, the performances
CAMBRIDGE
2-6 March 2004, 7.45pm
Venue: ADC Theatre
LYON
23-25 March 2004, 8.30pm
Venue: Théâtre Kantor
PARIS
26-27 March 2004, 8.30pm
28 March 2004, 7pm
Venue: Théâtre de la Cachette
CAMBRIDGE
2-6 March 2004, 7.45pm
Venue: ADC Theatre
LYON
23-25 March 2004, 8.30pm
Venue: Théâtre Kantor
PARIS
26-27 March 2004, 8.30pm
28 March 2004, 7pm
Venue: Théâtre de la Cachette
The Press release
Richard III is a compelling tragedy of power, ambition, betrayal and political intrigue portraying its eponymous character as England's most ruthless monarch, a charismatic but evil villain who ascends to the throne through a delicious mix of treachery, seduction and murder. It completes Shakespeare's dramatic interpretation of England's bloody Wars of the Roses. The play tracks the rise and fall of an ambitious soldier and statesman, struggling for power and survival in fragmented and dangerous times. Through a dense and powerfully pitched dramatic structure, Shakespeare depicts Richard's Machiavellian machinations in his drive for absolute power over a dissolute state. Conquering all with his scheming quick wit, and menacing ambition, Richard is at once a seductive and repulsive character. He is an individual who, in achieving his goal of kingly rule is torn apart by his limited and war-scarred imagination, and is soon bound to question the dubious morality of the atrocities that he has committed. Forcing the audience to confront its own moral weaknesses Shakespeare's arch-hero is a villain whose own world is an elaborate theatre of death and destruction. Rarely will you see your worst nightmares so alluringly brought to stage. Richard III is the Bard's most performed play, and the title role has been performed by such diverse actors as Sir Alec Guinness, Sir Alan Bates, Al Pacino, and Denzel Washington. The role was perhaps the most vivid of Laurence Olivier's illustrious career, both on stage and in the version he directed himself in 1956. More recently, Cambridge graduate and ADC member Sir Ian McKellen starred in the title role (and helped adapt the script) in a film version based on Richard Eyre's 1991 stage adaptation. This bold and compelling production, directed by Gérald Garutti and designed by Sabin Anca, is riveting in its portrayal of this ruthless and wicked royal, skilfully depicting a world perched on the edge of war, driven there by a self-proclaimed villain.
Richard III is a compelling tragedy of power, ambition, betrayal and political intrigue portraying its eponymous character as England's most ruthless monarch, a charismatic but evil villain who ascends to the throne through a delicious mix of treachery, seduction and murder. It completes Shakespeare's dramatic interpretation of England's bloody Wars of the Roses. The play tracks the rise and fall of an ambitious soldier and statesman, struggling for power and survival in fragmented and dangerous times. Through a dense and powerfully pitched dramatic structure, Shakespeare depicts Richard's Machiavellian machinations in his drive for absolute power over a dissolute state. Conquering all with his scheming quick wit, and menacing ambition, Richard is at once a seductive and repulsive character. He is an individual who, in achieving his goal of kingly rule is torn apart by his limited and war-scarred imagination, and is soon bound to question the dubious morality of the atrocities that he has committed. Forcing the audience to confront its own moral weaknesses Shakespeare's arch-hero is a villain whose own world is an elaborate theatre of death and destruction. Rarely will you see your worst nightmares so alluringly brought to stage. Richard III is the Bard's most performed play, and the title role has been performed by such diverse actors as Sir Alec Guinness, Sir Alan Bates, Al Pacino, and Denzel Washington. The role was perhaps the most vivid of Laurence Olivier's illustrious career, both on stage and in the version he directed himself in 1956. More recently, Cambridge graduate and ADC member Sir Ian McKellen starred in the title role (and helped adapt the script) in a film version based on Richard Eyre's 1991 stage adaptation. This bold and compelling production, directed by Gérald Garutti and designed by Sabin Anca, is riveting in its portrayal of this ruthless and wicked royal, skilfully depicting a world perched on the edge of war, driven there by a self-proclaimed villain.
The reviews
Soon to arrive
Soon to arrive
Contact us
Should this website not have answered all your questions regarding our shows, please contact us at the following e-mail address:
info@richard3.org
Should this website not have answered all your questions regarding our shows, please contact us at the following e-mail address:
info@richard3.org
Bookings for the Cambridge show
Please contact the ADC Box Office at 01223 503 333
Please contact the ADC Box Office at 01223 503 333
Director’s notes
A plot in two dimensions
Richard III tells the tale of the rise and fall of an ambitious soldier and statesman, struggling for power and survival in fragmented and dangerous times. Through a dense and powerfully pitched dramatic structure, Shakespeare depicts the Machiavellian machinations that Richard exercises in his drive for power over a dissolute state. During his quest for power, Richard owns the stage, conquering all with his scheming quick wit. His desire for power is arbitrary, however – once he has achieved it, he starts looking about for other objectives instead of relaxing in his achievements, and as he cannot find them, his world and his self begins to unravel.
The play traces both a simple rise-and-fall pattern and a much more involved and involving series of episodes, as each scene presents its own variable moment of drama; Richard’s appeal plays itself out scene by scene; his downfall comes out in the aggregate.
A plot in two dimensions
Richard III tells the tale of the rise and fall of an ambitious soldier and statesman, struggling for power and survival in fragmented and dangerous times. Through a dense and powerfully pitched dramatic structure, Shakespeare depicts the Machiavellian machinations that Richard exercises in his drive for power over a dissolute state. During his quest for power, Richard owns the stage, conquering all with his scheming quick wit. His desire for power is arbitrary, however – once he has achieved it, he starts looking about for other objectives instead of relaxing in his achievements, and as he cannot find them, his world and his self begins to unravel.
The play traces both a simple rise-and-fall pattern and a much more involved and involving series of episodes, as each scene presents its own variable moment of drama; Richard’s appeal plays itself out scene by scene; his downfall comes out in the aggregate.
Cast (in order of appearance)
Sam Kitchener Richard, Duke of Gloucester, afterwards King Richard III
Arthur House George, Duke of Clarence, his brother / King Edward IV
Henry, Earl of Richmond, afterwards King Henry VII
Mayor of London/Archbishop of Canterbury
Seb Robins Brakenbury, Lieutenant of the Tower/ Lord Rivers / Ratcliff
Jonny Pearson Hastings/ First Murderer/ Tyrrel / Brandon
Nina Bowden Lady Anne /Edward, Prince of Wales
Abi Sharma Queen Elizabeth, wife to King Edward / Duke of York
Ben Hadley Stanley / Grey
George Igler Duke of Buckingham
Noah Moxham Dorset / Messenger
Oli Robinson Catesby / Second Murderer
Laura Ashe Queen Margaret, wife to the dead King Henry VI
Alice Harper Duchess of York, mother to Richard, Edward and Clarence Mistress Shore / Messenger
Sam Kitchener Richard, Duke of Gloucester, afterwards King Richard III
Arthur House George, Duke of Clarence, his brother / King Edward IV
Henry, Earl of Richmond, afterwards King Henry VII
Mayor of London/Archbishop of Canterbury
Seb Robins Brakenbury, Lieutenant of the Tower/ Lord Rivers / Ratcliff
Jonny Pearson Hastings/ First Murderer/ Tyrrel / Brandon
Nina Bowden Lady Anne /Edward, Prince of Wales
Abi Sharma Queen Elizabeth, wife to King Edward / Duke of York
Ben Hadley Stanley / Grey
George Igler Duke of Buckingham
Noah Moxham Dorset / Messenger
Oli Robinson Catesby / Second Murderer
Laura Ashe Queen Margaret, wife to the dead King Henry VI
Alice Harper Duchess of York, mother to Richard, Edward and Clarence Mistress Shore / Messenger
Crew
Director Gérald Garutti
Assistant Director Noah Moxham
Producer Julie Gassman
Publicity Officer Sara Hanna
Set, Publicity and Website Designer Sabin Anca
Lighting Designer Tom White
Costumes Designer Manon Awst
Music & Sound Designer Andrew Thomas
Technical Director Pete Davies
Choregrapher Denise Van-der-Kamp
Tour Manager Ben Hadley
Tour Artistic Agent Guillaume Clérice
Director Gérald Garutti
Assistant Director Noah Moxham
Producer Julie Gassman
Publicity Officer Sara Hanna
Set, Publicity and Website Designer Sabin Anca
Lighting Designer Tom White
Costumes Designer Manon Awst
Music & Sound Designer Andrew Thomas
Technical Director Pete Davies
Choregrapher Denise Van-der-Kamp
Tour Manager Ben Hadley
Tour Artistic Agent Guillaume Clérice
Company Biographies
Sabin Anca – Designer of the set, website and all publicity material.
Sabin read architecture at Cambridge. He now practises architecture in the city while also pursuing a focused interest in theatrical production and design. In 2000 he co-founded State of Design, a new breed of multi-disciplinary design company specialising in high quality, innovative theatrical, interior, multimedia and product design with a strong sustainability agenda. Through his company or on his own, he has been involved in 17 productions during the last year and a half ranging from classical Greek (Aristophanes, Euripides) to contemporary theatre (Barton, Kane, Koltes) through classic Shakespeare, expressionist (Toller, Brecht, late Yeats) and absurdist (Ionesco), while working with both amateur and professional companies (the Royal Shakespeare Company, the Gate (London), Nottingham Theatre, the Actor Touring Company, Context Theatre etc). Recent ADC productions include Roberto Zucco (also performed in Paris and Lyon), Habeas Corpus and Under Milk Wood.
Laura Ashe- Margaret
Laura has played a housewife in Look Back in Anger, a whore in Comedy of Errors, and a male melancholic in As You Like It, so an old queen in Richard III is a welcome continuation. She is a Fellow of Gonville & Caius College.
Manon Awst-Williams – Costume, Props and Masks Designer
Manon is a second year Architect at Emmanuel. Having always been interested in performance, being a member of the successful Ysgol Glanaethwy in Wales, she is now excited by the integration of the spatial arts, design, painting and film. Manon is also currently busy with the set for Smorgasbord.
Nina Bowden- Anne / Prince of Wales
Nina is a second year linguist at Christ’s. Other Cambridge productions include Look back in Anger, Coriolanus, Volpone, Hamlet, Habeas Corpus, Eight days to Srebrenica and Roberto Zucco. Due to the abuse suffered in the realisation of many of these roles, a charitable fund has been founded to prevent further physical or psychological damage. All donations welcome: see Mr. Adamson for further details.
Guillaume Clérice- Tour Artistic Agent
Guillaume is studying history at Paris X Nanterre University. After an initial four years of music classes (playing the guitar), he has been at drama school for the past five years. He has, in particular, been admitted to a class run by Francine Walter (of “Association Premier Acte”). It was in this context that he performed in “Une des dernières soirées de Carnaval” by Carlo Goldoni (Lazaro). Since January he has been putting together and directing a comedy.
Pete Davies – Technical Director
Pete is a first year engineer a Peterhouse, and has already worked on seven shows in Cambridge, including lighting design/improvisation for the Uncertainty Division’s improvised comedy ‘Out Of Your Mind’ and lighting design for the ADC’s ‘The Flies’ and Prometheus Unbound’s ‘Bloody Poetry’. He has just recovered from a week as a Production Electrician for the CUMTS ‘Little Shop Of Horrors’ at the Cambridge Arts Theatre. He hails from Blackburn, and is most definitely a Lancastrian at heart and not at all impressed in this Yorkshire hunchback’s attempt at government. While not techie-ing or engineering he rows with the Peterhouse 2nd mens boat.
Gérald Garutti — Director
Gérald is a PhD student in Theatre Studies and Philosophy from the École Normale Supérieure. He is currently reading a Mphil in Political Thought and Intellectual History at Queens’. In drama, he has been trained in Parisian dramaschools and involved in 22 shows as actor or/and director. He has also directed three short-movies. In Cambridge, his credits include : in acting, the Mayor in the Government Inspector (ADC), Theseus in Phèdre (Playroom), Zeus in The Flies (ADC) and Sly in the Taming of the Shrew (Arts, Marlowe) ; in directing, Zucco (CADS’). From next year, he will be working as an academic in Theatre Studies in Paris X University and, hopefully, as a professional director in the French-English drama company Coincidence Theatre. He is currently creating the yearly French Connection Tour (FCUT : French Connection Cambridge University Theatre).
Julie Gassmann — Producer
Julie is a first year undergraduate at Kings studying natural sciences. After taking over many different functions in school productions she quickly joined the ranks of the Cambridge thespians. Starting as a publicist last term this term sees her taking on her first job as producer for Richard III.
Ben Hadley – Grey / Stanley — Tour Manager
Richard III is Ben’s second play in Cambridge, after performing in Sartre’s ‘The Flies’ during his first term. Although philosophy and pool leave him with little to no sparetime, he is also managing the French Tour of Richard which will happen after the play goes on in Cambridge. Ben is an undergraduate at King’s College, and co-founder of the French Connection Tour (FCUT : French Connection Cambridge University Theatre)
Sara Hanna — Publicist
In the last 18 months Sara has produced Gilbert & Sullivan’s ‘The Gondoliers’ at the Cambridge Arts Theatre, Gunter Grass’s ‘Only Ten Minutes to Buffalo’ at the ADC, and most recently, Mozart’s opera ‘The Magic Flute’, also at the ADC. She has also toured Europe with ETG’s production of ‘Twelfth Night’, and is currently the Publicist for Caius Shadwell Society. In her spare time, Sara studies history at Gonville & Caius College.
Alice Harper – Duchess of York / Mistress Shore / Messenger
Alice is a first year English student at Trinity. She has played Nora in the BATs production of ‘A Doll’s House’ and Jessica in ‘This Is Our Youth’, also at BATs. Productions outside Cambridge plays at festivals in Edinburgh and Avignon, as well as at the National Theatre
Arthur House – Clarence / Edward / Richmond / Mayor / Archbishop/ Cardinal
Arthur is an English finalist at Caius. His Cambridge theatre experience includes, amongst others: ‘The Fall of the House of Usher’ (Friend/Servant), which he also co-directed, ‘Arcadia’ (Valentine), ‘Translations’ (Yolland), ‘Artist Descending a Staircase’ (Donner) and ‘What The Butler Saw’ (Nick). He appeared at the Edinburgh Fringe 2002 in ‘The (Konstantin), in the previous two Arts Theatre Trust productions (‘The Duchess of Malfi’ and ‘Measure for Measure’), and even went on ETG’s ‘Twelfth Night’ tour as a stage hand.
George Igler — Buckingham
George is a mature undergraduate at Homerton, in his final year of SPS. He has yet to do any drama in Cambridge. It doesn’t show. He says of his character Buckingham: “Well Buckingham’s a bit of a rogue, ins’t he? That should just about come naturally.
Sam Kitchener – Richard
Sam is a first year historian at Christ’s. He is very excited at the prospect of playing one of Shakespeare’s greatest villains having workded up to it through various shades of Elizabethan and Jacobean villainy, playing Claudius in Hamlet and Mosca in Volpone at school. For relief from this swathe of evil Sam enjoyed playing Sir Trumpalot in Alice in Wonderland the Footlight’s pantomime earlier this year and Fraser in Albert’s Bridge, the ADC Freshers’ late show.
Noah Moxham – Assistant director — Dorset / Messenger 2
Noah is a third year English student at Clare. His theatrical experience in Cambridge having hitherto involved public ridicule (Malvolio) and castration (eunuch), he decided to retire to devote more time to his less painful hobbies of rum, sodomy, and the lash, and to tend his garden. He is very proud to be involved in any capacity with his favourite play in the world.
Jonny Pearson – Hastings/ Murderer 1/Tyrrel / Brandon
Jonny is a Politics finalist at Gonville and Caius and hopes to continue his studies next year as an MPhil student. He has previously been Jimmy Jack in Brian Friel’s Translations, Jimmy Porter in John Osborne’s Look Back in Anger, and Trinculo in the Tempest. This is his first tour show.
Sebastian Robins – Brakenbury / Rivers / Ratcliffe
Seb is a first year undergraduate at Corpus Christi College reading history. He appeared as Diomedes in the Ariel Society’s Troilus and Cressida last term and looks forward to making more time for drama in future terms. Otherwise he is usually found on (and occasionally in) the river, rowing, or in his room reading to the accompaniment of vast quantities of tea.
Oli Robinson – Catesby / Murderer 2
Richard III is Oli’s sixth show in Cambridge. Oli has performed with at ADC twice before as Albrect Richter in the 2002 Fresher’s show ‘Peace in our time’, and as Herbie in the Lent term musical ‘Gypsy’. He as also been involved with other companies in roles such as Doolittle in ‘Pygmalion’ (Reds), and the Jabberwok in ‘Alice in Wonderland’ (Footlights/ADC). Last week, Oli was performing in ‘The Little Shop of Horrors’ (CUMTS) at the Arts theatre, which might explain why he keeps darting into corners to avoid his supervisors. In his spare time Oli studies Biological Natural Sciences at St John’s College.
Abi Sharma – Elizabeth / Prince of York / Messenger 3
Abi is a third year English student at Girton. At Cambridge she has spent much of her time acting. Her favourite roles have been Viola in Twelfth Night with ETG 2002 and Cassandra in The Trojan Women at Edinburgh Festival. She has also acted in Godberg’s comedy Shakers and The House of Bernada Alba (Lorca) and Woyzeck (Buchner) at the ADC. Most recently she co-produced Mozart’s The Magic Flute at the ADC. Outside of the theatre Abi is committed to City Church and is enjoying the novelties of playing women’s football for Girton.
Andrew Thomas – Composer & Sound Designer
Andrew studied musicology, studio music and composition (Rhian Samuel) at the City University, London, obtaining a first class honours degree in 2003. Whilst at City Andrew concurrently studied the flute at the Guildhall School of Music and Drama with Katy Gainham, Ian Clarke, Rowland Sutherland and, privately, with Robert Dick and Kate Lukas. Andrew is currently studying for the MPhil degree in Musical Composition at St. Catharine’s College, Cambridge, where he has primarily worked with Jonathan Harvey and Jeremy Thurlow. His music has been played in numerous venues throughout London and Cambridge.
Denise Van-der-Kamp - Choreographer
Denise is a first year SPS student from Downing College. She has danced in “Over the Edge”, “Sprung” and the Edinburgh Hip Hop festival. Her prior choreography projects a have been “The Love of a Nightingale”, “Agamemnon” and “A Midsummer’s Night Dream”. This is her first job as a choreographer in Cambridge.
Tom White – Lighting Designer
Tom is a third-year Materials Scientist from Downing. He tends to spend a lot of time running around between electron microscopes and theatres, of both the lecture and drama variety. He became involved seriously with theatre within weeks of arriving at Cambridge in 2001, and has since been involved with over 25 different shows. His previous work includes The Love of the Nightingale, Roberto Zucco and Under Milk Wood.
back to top
Sabin Anca – Designer of the set, website and all publicity material.
Sabin read architecture at Cambridge. He now practises architecture in the city while also pursuing a focused interest in theatrical production and design. In 2000 he co-founded State of Design, a new breed of multi-disciplinary design company specialising in high quality, innovative theatrical, interior, multimedia and product design with a strong sustainability agenda. Through his company or on his own, he has been involved in 17 productions during the last year and a half ranging from classical Greek (Aristophanes, Euripides) to contemporary theatre (Barton, Kane, Koltes) through classic Shakespeare, expressionist (Toller, Brecht, late Yeats) and absurdist (Ionesco), while working with both amateur and professional companies (the Royal Shakespeare Company, the Gate (London), Nottingham Theatre, the Actor Touring Company, Context Theatre etc). Recent ADC productions include Roberto Zucco (also performed in Paris and Lyon), Habeas Corpus and Under Milk Wood.
Laura Ashe- Margaret
Laura has played a housewife in Look Back in Anger, a whore in Comedy of Errors, and a male melancholic in As You Like It, so an old queen in Richard III is a welcome continuation. She is a Fellow of Gonville & Caius College.
Manon Awst-Williams – Costume, Props and Masks Designer
Manon is a second year Architect at Emmanuel. Having always been interested in performance, being a member of the successful Ysgol Glanaethwy in Wales, she is now excited by the integration of the spatial arts, design, painting and film. Manon is also currently busy with the set for Smorgasbord.
Nina Bowden- Anne / Prince of Wales
Nina is a second year linguist at Christ’s. Other Cambridge productions include Look back in Anger, Coriolanus, Volpone, Hamlet, Habeas Corpus, Eight days to Srebrenica and Roberto Zucco. Due to the abuse suffered in the realisation of many of these roles, a charitable fund has been founded to prevent further physical or psychological damage. All donations welcome: see Mr. Adamson for further details.
Guillaume Clérice- Tour Artistic Agent
Guillaume is studying history at Paris X Nanterre University. After an initial four years of music classes (playing the guitar), he has been at drama school for the past five years. He has, in particular, been admitted to a class run by Francine Walter (of “Association Premier Acte”). It was in this context that he performed in “Une des dernières soirées de Carnaval” by Carlo Goldoni (Lazaro). Since January he has been putting together and directing a comedy.
Pete Davies – Technical Director
Pete is a first year engineer a Peterhouse, and has already worked on seven shows in Cambridge, including lighting design/improvisation for the Uncertainty Division’s improvised comedy ‘Out Of Your Mind’ and lighting design for the ADC’s ‘The Flies’ and Prometheus Unbound’s ‘Bloody Poetry’. He has just recovered from a week as a Production Electrician for the CUMTS ‘Little Shop Of Horrors’ at the Cambridge Arts Theatre. He hails from Blackburn, and is most definitely a Lancastrian at heart and not at all impressed in this Yorkshire hunchback’s attempt at government. While not techie-ing or engineering he rows with the Peterhouse 2nd mens boat.
Gérald Garutti — Director
Gérald is a PhD student in Theatre Studies and Philosophy from the École Normale Supérieure. He is currently reading a Mphil in Political Thought and Intellectual History at Queens’. In drama, he has been trained in Parisian dramaschools and involved in 22 shows as actor or/and director. He has also directed three short-movies. In Cambridge, his credits include : in acting, the Mayor in the Government Inspector (ADC), Theseus in Phèdre (Playroom), Zeus in The Flies (ADC) and Sly in the Taming of the Shrew (Arts, Marlowe) ; in directing, Zucco (CADS’). From next year, he will be working as an academic in Theatre Studies in Paris X University and, hopefully, as a professional director in the French-English drama company Coincidence Theatre. He is currently creating the yearly French Connection Tour (FCUT : French Connection Cambridge University Theatre).
Julie Gassmann — Producer
Julie is a first year undergraduate at Kings studying natural sciences. After taking over many different functions in school productions she quickly joined the ranks of the Cambridge thespians. Starting as a publicist last term this term sees her taking on her first job as producer for Richard III.
Ben Hadley – Grey / Stanley — Tour Manager
Richard III is Ben’s second play in Cambridge, after performing in Sartre’s ‘The Flies’ during his first term. Although philosophy and pool leave him with little to no sparetime, he is also managing the French Tour of Richard which will happen after the play goes on in Cambridge. Ben is an undergraduate at King’s College, and co-founder of the French Connection Tour (FCUT : French Connection Cambridge University Theatre)
Sara Hanna — Publicist
In the last 18 months Sara has produced Gilbert & Sullivan’s ‘The Gondoliers’ at the Cambridge Arts Theatre, Gunter Grass’s ‘Only Ten Minutes to Buffalo’ at the ADC, and most recently, Mozart’s opera ‘The Magic Flute’, also at the ADC. She has also toured Europe with ETG’s production of ‘Twelfth Night’, and is currently the Publicist for Caius Shadwell Society. In her spare time, Sara studies history at Gonville & Caius College.
Alice Harper – Duchess of York / Mistress Shore / Messenger
Alice is a first year English student at Trinity. She has played Nora in the BATs production of ‘A Doll’s House’ and Jessica in ‘This Is Our Youth’, also at BATs. Productions outside Cambridge plays at festivals in Edinburgh and Avignon, as well as at the National Theatre
Arthur House – Clarence / Edward / Richmond / Mayor / Archbishop/ Cardinal
Arthur is an English finalist at Caius. His Cambridge theatre experience includes, amongst others: ‘The Fall of the House of Usher’ (Friend/Servant), which he also co-directed, ‘Arcadia’ (Valentine), ‘Translations’ (Yolland), ‘Artist Descending a Staircase’ (Donner) and ‘What The Butler Saw’ (Nick). He appeared at the Edinburgh Fringe 2002 in ‘The (Konstantin), in the previous two Arts Theatre Trust productions (‘The Duchess of Malfi’ and ‘Measure for Measure’), and even went on ETG’s ‘Twelfth Night’ tour as a stage hand.
George Igler — Buckingham
George is a mature undergraduate at Homerton, in his final year of SPS. He has yet to do any drama in Cambridge. It doesn’t show. He says of his character Buckingham: “Well Buckingham’s a bit of a rogue, ins’t he? That should just about come naturally.
Sam Kitchener – Richard
Sam is a first year historian at Christ’s. He is very excited at the prospect of playing one of Shakespeare’s greatest villains having workded up to it through various shades of Elizabethan and Jacobean villainy, playing Claudius in Hamlet and Mosca in Volpone at school. For relief from this swathe of evil Sam enjoyed playing Sir Trumpalot in Alice in Wonderland the Footlight’s pantomime earlier this year and Fraser in Albert’s Bridge, the ADC Freshers’ late show.
Noah Moxham – Assistant director — Dorset / Messenger 2
Noah is a third year English student at Clare. His theatrical experience in Cambridge having hitherto involved public ridicule (Malvolio) and castration (eunuch), he decided to retire to devote more time to his less painful hobbies of rum, sodomy, and the lash, and to tend his garden. He is very proud to be involved in any capacity with his favourite play in the world.
Jonny Pearson – Hastings/ Murderer 1/Tyrrel / Brandon
Jonny is a Politics finalist at Gonville and Caius and hopes to continue his studies next year as an MPhil student. He has previously been Jimmy Jack in Brian Friel’s Translations, Jimmy Porter in John Osborne’s Look Back in Anger, and Trinculo in the Tempest. This is his first tour show.
Sebastian Robins – Brakenbury / Rivers / Ratcliffe
Seb is a first year undergraduate at Corpus Christi College reading history. He appeared as Diomedes in the Ariel Society’s Troilus and Cressida last term and looks forward to making more time for drama in future terms. Otherwise he is usually found on (and occasionally in) the river, rowing, or in his room reading to the accompaniment of vast quantities of tea.
Oli Robinson – Catesby / Murderer 2
Richard III is Oli’s sixth show in Cambridge. Oli has performed with at ADC twice before as Albrect Richter in the 2002 Fresher’s show ‘Peace in our time’, and as Herbie in the Lent term musical ‘Gypsy’. He as also been involved with other companies in roles such as Doolittle in ‘Pygmalion’ (Reds), and the Jabberwok in ‘Alice in Wonderland’ (Footlights/ADC). Last week, Oli was performing in ‘The Little Shop of Horrors’ (CUMTS) at the Arts theatre, which might explain why he keeps darting into corners to avoid his supervisors. In his spare time Oli studies Biological Natural Sciences at St John’s College.
Abi Sharma – Elizabeth / Prince of York / Messenger 3
Abi is a third year English student at Girton. At Cambridge she has spent much of her time acting. Her favourite roles have been Viola in Twelfth Night with ETG 2002 and Cassandra in The Trojan Women at Edinburgh Festival. She has also acted in Godberg’s comedy Shakers and The House of Bernada Alba (Lorca) and Woyzeck (Buchner) at the ADC. Most recently she co-produced Mozart’s The Magic Flute at the ADC. Outside of the theatre Abi is committed to City Church and is enjoying the novelties of playing women’s football for Girton.
Andrew Thomas – Composer & Sound Designer
Andrew studied musicology, studio music and composition (Rhian Samuel) at the City University, London, obtaining a first class honours degree in 2003. Whilst at City Andrew concurrently studied the flute at the Guildhall School of Music and Drama with Katy Gainham, Ian Clarke, Rowland Sutherland and, privately, with Robert Dick and Kate Lukas. Andrew is currently studying for the MPhil degree in Musical Composition at St. Catharine’s College, Cambridge, where he has primarily worked with Jonathan Harvey and Jeremy Thurlow. His music has been played in numerous venues throughout London and Cambridge.
Denise Van-der-Kamp - Choreographer
Denise is a first year SPS student from Downing College. She has danced in “Over the Edge”, “Sprung” and the Edinburgh Hip Hop festival. Her prior choreography projects a have been “The Love of a Nightingale”, “Agamemnon” and “A Midsummer’s Night Dream”. This is her first job as a choreographer in Cambridge.
Tom White – Lighting Designer
Tom is a third-year Materials Scientist from Downing. He tends to spend a lot of time running around between electron microscopes and theatres, of both the lecture and drama variety. He became involved seriously with theatre within weeks of arriving at Cambridge in 2001, and has since been involved with over 25 different shows. His previous work includes The Love of the Nightingale, Roberto Zucco and Under Milk Wood.
back to top
State of Design Ltd.
interior design
theatrical set design
multimedia design
advertising
marketing
product development
We specialise in high quality and innovative interior, theatrical and product design with strong sustainability agenda. By fusing art with high technology we will work with you to meet your most exacting design and advertising needs and, in some cases, give you advice on marketing and product development. We use complex modelling and visualisation techniques to provide you with effective feedback at all times during the collaboration process and ensure your ideas are faithfully materialised.
For further information, please contact us through our website
interior design
theatrical set design
multimedia design
advertising
marketing
product development
We specialise in high quality and innovative interior, theatrical and product design with strong sustainability agenda. By fusing art with high technology we will work with you to meet your most exacting design and advertising needs and, in some cases, give you advice on marketing and product development. We use complex modelling and visualisation techniques to provide you with effective feedback at all times during the collaboration process and ensure your ideas are faithfully materialised.
For further information, please contact us through our website
 |
 |
 |
 |
 |
|
The Set
The set is a reflection of an ever-changing and fractured environment defined by the split personalities of the characters inhabiting it. It changes before your eyes, just as the characters change sides. In so doing, the set – which fragments and reforms in a choreographed rather than chaotic way – expresses Richard’s manipulation of the play’s characters
The set is a reflection of an ever-changing and fractured environment defined by the split personalities of the characters inhabiting it. It changes before your eyes, just as the characters change sides. In so doing, the set – which fragments and reforms in a choreographed rather than chaotic way – expresses Richard’s manipulation of the play’s characters
The Costumes
Working alongside Gerald's directions and Sabine's set I have taken an abstract approach to the costumes. I hope to create minimal 'body ornaments' that act as attachments and almost as metaphors fot what distinguishes each character, as well as enhancing the human body. I would like to thank Myfanwy Williams for her exquisite jewellery.
Working alongside Gerald's directions and Sabine's set I have taken an abstract approach to the costumes. I hope to create minimal 'body ornaments' that act as attachments and almost as metaphors fot what distinguishes each character, as well as enhancing the human body. I would like to thank Myfanwy Williams for her exquisite jewellery.
The Sound
The sound design for this production comprises of three sub-divisions of sounds: ambiences, concréte sounds and composed music.
Each of these three strands has been shaped to underpin the development of both the plot and individual characters. Hence the composed music features specific themes for Richard, Margaret and Richmond that appear in various guises throughout the play and reflect the state of their character.
In terms of ambience the most notable is the low grumbling frequency that signifies Margaret’s curse with its constant return mirrored by alterations in the themes that are superimposed over it. Finally we have concréte sounds that emphasise the significance of the text - for example a tolling bell or a weak heartbeat
.
The sound design for this production comprises of three sub-divisions of sounds: ambiences, concréte sounds and composed music.
Each of these three strands has been shaped to underpin the development of both the plot and individual characters. Hence the composed music features specific themes for Richard, Margaret and Richmond that appear in various guises throughout the play and reflect the state of their character.
In terms of ambience the most notable is the low grumbling frequency that signifies Margaret’s curse with its constant return mirrored by alterations in the themes that are superimposed over it. Finally we have concréte sounds that emphasise the significance of the text - for example a tolling bell or a weak heartbeat
.
Director’s notes
A fascinating villain
Richard defies us, because we are bound by conscience to loathe him yet cannot resist his panache. His monstrous acts are carried off with a style and a humour which is fundamentally appealing – his moral irresponsibility tempts us in spite of his dangerous nature and repulsive actions. He can “undertake the death of all the world”, as he says, and we don’t mind because he seems so casual about it.
Yet even as we are being run away with, Shakespeare reels the character in. Richard’s sensational achievements have no objective, no rationale, except to prove to us and himself how good he is at bending other people to his will and making them believe that they are enacting their own. Forced to operate his puppet-master’s games in a real world, he eventually succumbs to it, and his actions get uglier, his own appeal more stunted, as he becomes increasingly and inevitably mired in the consequences of his own actions.
A fascinating villain
Richard defies us, because we are bound by conscience to loathe him yet cannot resist his panache. His monstrous acts are carried off with a style and a humour which is fundamentally appealing – his moral irresponsibility tempts us in spite of his dangerous nature and repulsive actions. He can “undertake the death of all the world”, as he says, and we don’t mind because he seems so casual about it.
Yet even as we are being run away with, Shakespeare reels the character in. Richard’s sensational achievements have no objective, no rationale, except to prove to us and himself how good he is at bending other people to his will and making them believe that they are enacting their own. Forced to operate his puppet-master’s games in a real world, he eventually succumbs to it, and his actions get uglier, his own appeal more stunted, as he becomes increasingly and inevitably mired in the consequences of his own actions.
French Connection Cambridge University Theatre
Having been performed in Cambridge on the ADC stage, this production of Richard III will be touring in France, in Paris and Lyon, as the first official French Connection Tour.
The first objective of the FCUT is to widen the horizons of Cambridge drama. In association with the society, carefully selected Cambridge drama productions will be able to perform in France in front of not only students, but an audience comprised of journalists and theatre professionals. Once a year, a Cambridge drama production will be taken to Paris and Lyon, France’s two largest cities, as an opportunity to act for a non-Cambridge audience and display the range of talent and quality drama that is produced in Cambridge.
FCUT will provide access to theatres of almost professional calibre which will have the same kind of feel to them as the ADC stage. Also, through the contact established with the universities in France, it will be possible for French productions of a high standard from Lyon and Paris to come and tour in Cambridge at the ADC. This idea of an exchange seems particularly interesting as it not only enables Cambridge productions to tour in France, but we shall also have the opportunity of discovering (or rediscovering) the great French classics in the original, played by French actors.
This means that FCUT will be looking for productions of the highest standard (of semi-professional or professional claim) to take on Tour to France. Also, the societies with which the FCUT will be associated in France will be able to publicise the productions and help with organisation and coordination on the ground (we will provide more information about these societies later).
In short, FCUT will allow Cambridge productions to make a strong and lasting impression on the French drama scene by providing a solid and supportive structure on the other side of the channel and adequate organisation and funding on this side. Richard III is then the first official tour of the FCUT– even if it is in reality the second French tour which is organised, as the previous and informal one, Roberto Zucco, happend already last year with such an approach.
Having been performed in Cambridge on the ADC stage, this production of Richard III will be touring in France, in Paris and Lyon, as the first official French Connection Tour.
The first objective of the FCUT is to widen the horizons of Cambridge drama. In association with the society, carefully selected Cambridge drama productions will be able to perform in France in front of not only students, but an audience comprised of journalists and theatre professionals. Once a year, a Cambridge drama production will be taken to Paris and Lyon, France’s two largest cities, as an opportunity to act for a non-Cambridge audience and display the range of talent and quality drama that is produced in Cambridge.
FCUT will provide access to theatres of almost professional calibre which will have the same kind of feel to them as the ADC stage. Also, through the contact established with the universities in France, it will be possible for French productions of a high standard from Lyon and Paris to come and tour in Cambridge at the ADC. This idea of an exchange seems particularly interesting as it not only enables Cambridge productions to tour in France, but we shall also have the opportunity of discovering (or rediscovering) the great French classics in the original, played by French actors.
This means that FCUT will be looking for productions of the highest standard (of semi-professional or professional claim) to take on Tour to France. Also, the societies with which the FCUT will be associated in France will be able to publicise the productions and help with organisation and coordination on the ground (we will provide more information about these societies later).
In short, FCUT will allow Cambridge productions to make a strong and lasting impression on the French drama scene by providing a solid and supportive structure on the other side of the channel and adequate organisation and funding on this side. Richard III is then the first official tour of the FCUT– even if it is in reality the second French tour which is organised, as the previous and informal one, Roberto Zucco, happend already last year with such an approach.
Roberto Zucco in Paris and Lyon
(CADS’, ADC Theatre, State of Design - Easter 2003)
The FCUT is being set up in the hope that a tradition has been started by the French Tour of Roberto Zucco and will carry on this year with Richard III. Indeed, in the case of Roberto Zucco, directed by Gérald Garutti and designed by Sabin A first performed in the ADC Theatre in Easter Term 2003 and then in Paris and Lyon in September 2003, the production was extremely well received in France, as some articles show (Time Out Paris, Le Parisien). It will hopefully be the first of a series of Cambridge shows to impress the French press and the French audience, from students to professionals.
Le Parisien, which is one of the major daily newspapers with the biggest readership in the entire Paris area (500 000 readers every day), has even sent a journalist to review the show, who wrote the following article (which has been translated from French into English)
(CADS’, ADC Theatre, State of Design - Easter 2003)
The FCUT is being set up in the hope that a tradition has been started by the French Tour of Roberto Zucco and will carry on this year with Richard III. Indeed, in the case of Roberto Zucco, directed by Gérald Garutti and designed by Sabin A first performed in the ADC Theatre in Easter Term 2003 and then in Paris and Lyon in September 2003, the production was extremely well received in France, as some articles show (Time Out Paris, Le Parisien). It will hopefully be the first of a series of Cambridge shows to impress the French press and the French audience, from students to professionals.
Le Parisien, which is one of the major daily newspapers with the biggest readership in the entire Paris area (500 000 readers every day), has even sent a journalist to review the show, who wrote the following article (which has been translated from French into English)
Click here to read the review in a separate window
Time Out Paris had this to say about the production:
“Inspired by a true story, the life of Roberto Succo, a young Italian who assassinated his parents without any apparent motives before breaking loose from jail and wreaking havoc and terror for two years in a series of murders and rapes, this play is the last written by Bernard-Marie Koltès.
Put together by the talented ADC Theatre Group from Cambridge and performed in English (translated by Martin Crimp, contemporary dramatist at the forefront of British theatre) this play creates a disturbing tableau full of tenebrous enigmas and ineffable truths.
Using the genre of the ‘film noir’ as a source of inspiration, the production is set to be both viscerally and visually powerful. “
“Inspired by a true story, the life of Roberto Succo, a young Italian who assassinated his parents without any apparent motives before breaking loose from jail and wreaking havoc and terror for two years in a series of murders and rapes, this play is the last written by Bernard-Marie Koltès.
Put together by the talented ADC Theatre Group from Cambridge and performed in English (translated by Martin Crimp, contemporary dramatist at the forefront of British theatre) this play creates a disturbing tableau full of tenebrous enigmas and ineffable truths.
Using the genre of the ‘film noir’ as a source of inspiration, the production is set to be both viscerally and visually powerful. “
Please visit Roberto Zucco's site
www.robertozucco.com
CAMBRIDGE
2-6 March 2004, 7.45pm
ADC Theatre
Address : Park Street, Cambridge (UK)
Bookings: 00 44 1223 503 333 (Arts Theatre Box Office )
Fees: Normal: Tue-Thur £6;50; Fri-Sat: £7,50. Concession: Tue-Thur £5; Fri-Sat: 5£.
Production: ADC Club Main Show
LYON
23-25 March 2004, 8.30pm
Théâtre Kantor
Address : ENS Lettres et Sciences Humaines, 15, Parvis Descartes, Lyon 7e, Métro Debourg (direction stade de Gerland)
Bookings: 04 37 37 65 83 (EN Scène !)
Fees: Normal price: 9,5€. Concession: 7€.
Production: FCUT (French Connection Cambridge University Theatre)/ ADC Club, ADC Theatre / Compagnie Coincidence
ENS Lettres et Sciences Humaines / EN Scène! / ENS Théâtre
PARIS
26-27 March 2004, 8.30pm, 28 March 2004, 7pm
Théâtre de la Cachette
Address: 124, avenue d’Italie, Paris 13e.
Bookings: 01 45 89 23 63 (Théâtre de la Cachette)
Fees: Normal price: 9,5€. Concession: 7€.
Production: FCUT (French Connection Cambridge University Theatre)/ ADC Club, ADC Theatre/ Compagnie Coïncidence Theatre / Theatre de la Cachette
2-6 March 2004, 7.45pm
ADC Theatre
Address : Park Street, Cambridge (UK)
Bookings: 00 44 1223 503 333 (Arts Theatre Box Office )
Fees: Normal: Tue-Thur £6;50; Fri-Sat: £7,50. Concession: Tue-Thur £5; Fri-Sat: 5£.
Production: ADC Club Main Show
LYON
23-25 March 2004, 8.30pm
Théâtre Kantor
Address : ENS Lettres et Sciences Humaines, 15, Parvis Descartes, Lyon 7e, Métro Debourg (direction stade de Gerland)
Bookings: 04 37 37 65 83 (EN Scène !)
Fees: Normal price: 9,5€. Concession: 7€.
Production: FCUT (French Connection Cambridge University Theatre)/ ADC Club, ADC Theatre / Compagnie Coincidence
ENS Lettres et Sciences Humaines / EN Scène! / ENS Théâtre
PARIS
26-27 March 2004, 8.30pm, 28 March 2004, 7pm
Théâtre de la Cachette
Address: 124, avenue d’Italie, Paris 13e.
Bookings: 01 45 89 23 63 (Théâtre de la Cachette)
Fees: Normal price: 9,5€. Concession: 7€.
Production: FCUT (French Connection Cambridge University Theatre)/ ADC Club, ADC Theatre/ Compagnie Coïncidence Theatre / Theatre de la Cachette
Director’s notes
Two sides of the coin
Whilst in Shakespeare one might find other hypocrites, there is none quite like Richard. One finds the same duality of self-representation in Iago, for instance, but for him it is not constant. Richard is a true puppeteer : he knows what he has to do, he tells the audience what he is going to do, and he does it. By his own admission, his words and postures go quite against his thoughts and actions : ‘And seem a saint when most I play the devil’. In dramatic terms, this double discourse, addressed to two different parties that cannot communicate — audience and characters — cannot but emphasize Richard’s capacity for flipping at leisure between one persona and another.
Two sides of the coin
Whilst in Shakespeare one might find other hypocrites, there is none quite like Richard. One finds the same duality of self-representation in Iago, for instance, but for him it is not constant. Richard is a true puppeteer : he knows what he has to do, he tells the audience what he is going to do, and he does it. By his own admission, his words and postures go quite against his thoughts and actions : ‘And seem a saint when most I play the devil’. In dramatic terms, this double discourse, addressed to two different parties that cannot communicate — audience and characters — cannot but emphasize Richard’s capacity for flipping at leisure between one persona and another.
Director’s notes
Building a stage for destruction
Richard stands outside and above the other protagonists of his play. I say his play, because whilst the protagonists are limited in their actions and delineated by the roles assigned to them in the turbulent political scene of the time, Richard works his way into a position where he is dictating their fates. Thus Richard is the director and the puppeteer, as well as author and actor of his own drama. This vision of the character is vital to my definition of his relationships with the audience and the other protagonists.
I say that Richard stands above the latter because whilst they are portrayed as people, free agents in their own right, they ultimately appear to the audience as Richard’s marionettes. Their tragic destinies are actually perverse, artificial destinies, appointed by a self-willed hunchbacked god-figure. They are confined by their relationship to Richard, their state is never stable, they move from life to death, friendship to hatred, according to his whim. Because Richard exploits everyone around him, once he has killed or been abandoned by all his allies he is left in a void with no one to defend him. Forced into this situation, he is forced to turn to himself entirely, and he finds that he cannot bear to examine himself – left alone, Richard turns on himself.
Building a stage for destruction
Richard stands outside and above the other protagonists of his play. I say his play, because whilst the protagonists are limited in their actions and delineated by the roles assigned to them in the turbulent political scene of the time, Richard works his way into a position where he is dictating their fates. Thus Richard is the director and the puppeteer, as well as author and actor of his own drama. This vision of the character is vital to my definition of his relationships with the audience and the other protagonists.
I say that Richard stands above the latter because whilst they are portrayed as people, free agents in their own right, they ultimately appear to the audience as Richard’s marionettes. Their tragic destinies are actually perverse, artificial destinies, appointed by a self-willed hunchbacked god-figure. They are confined by their relationship to Richard, their state is never stable, they move from life to death, friendship to hatred, according to his whim. Because Richard exploits everyone around him, once he has killed or been abandoned by all his allies he is left in a void with no one to defend him. Forced into this situation, he is forced to turn to himself entirely, and he finds that he cannot bear to examine himself – left alone, Richard turns on himself.
A history play — true to history?
A rehabilitation?
Just as there has been no shortage of detractors for Richard III, there are also many defenders: from George Buck in 1646 via Horace Walpole in 1768, and through to the 20th century novels of Josephine Tey and Sharon Penman to name but a few. This revisionist view of Richard even has a society dedicated to 'promote, in every possible way, research into the life and times of Richard III'. When Henry VII began his campaign to rubbish the reputation of his predecessor, little did he realise that it would be Richard and not Henry that would continue to fascinate hundreds of years later.
We will probably never know for certain the truth about Richard's character, the intimate politics of his reign or the ultimate fate of his nephews, but it is safe to say that he was neither as black as More, Shakespeare et al painted him, nor as white as the revisionist crusaders would have us believe.
A rehabilitation?
Just as there has been no shortage of detractors for Richard III, there are also many defenders: from George Buck in 1646 via Horace Walpole in 1768, and through to the 20th century novels of Josephine Tey and Sharon Penman to name but a few. This revisionist view of Richard even has a society dedicated to 'promote, in every possible way, research into the life and times of Richard III'. When Henry VII began his campaign to rubbish the reputation of his predecessor, little did he realise that it would be Richard and not Henry that would continue to fascinate hundreds of years later.
We will probably never know for certain the truth about Richard's character, the intimate politics of his reign or the ultimate fate of his nephews, but it is safe to say that he was neither as black as More, Shakespeare et al painted him, nor as white as the revisionist crusaders would have us believe.
Character Biographies
Richard, Duke of Gloucester
1453-1485, later king Richard III – youngest son of Richard, Duke of York, who was Henry VI’s rival for the throne of England and leader of the Yorkist Dynasty in the Wars of the Roses.
George, Duke of Clarence
d.1479 – Second son of Richard, duke of York. Married to Isabel Nevill, daughter of Warwick (the “Kingmaker”).
Edward IV
eldest son of Richard, Duke of York. Married to Elizabeth, Lady Grey, widow of Lord Grey of Groby. Father of Edward, Prince of Wales, and Richard, the young Duke of York. Acceded to the throne in 1471 – died 1483
Sir Robert Brakenbury
Lord lieutenant of the tower of London
William, Lord Hastings, Lord Chamberlain
head of the King’s household.
Anne Nevill
Youngest daughter of Warwick, widow of the Lancastrian Prince Edward, eventual wife of Richard.
Queen Elizabeth
wife of King Edward IV and mother of the princes in the tower.
Anthony Woodville, Lord Rivers
the Queen’s brother.
Lord Grey
the Queen’s brother
Thomas, Marquess of Dorset,
the Queen’s son by her previous marriage
Duke of Buckingham
Richard’s cousin and ally
Stanley, Earl of Derby
Ally of King Edward – stepfather of Henry Tudor, Earl of Richmond
Sir William Catesby & Sir Richard Ratcliffe
Allies of Richard
Queen Margaret
widow of King Henry VI, mother of Edward, Prince of Wales who was killed in battle by Richard, Edward and Clarence. Deposed Queen of England.
Edward, Prince of Wales
later King Edward V (acceded 1483, died 1483), Son of Edward IV and Queen Elizabeth
Richard, Duke of York
his younger brother.
Duchess of York
widow of Richard Duke of York and mother of Richard, Edward, and Clarence.
Jane Shore
former mistress of Edward IV, and subsequently of Lord Hastings.
Henry Tudor
Earl of Richmond, later King Henry VII
å`
Richard, Duke of Gloucester
1453-1485, later king Richard III – youngest son of Richard, Duke of York, who was Henry VI’s rival for the throne of England and leader of the Yorkist Dynasty in the Wars of the Roses.
George, Duke of Clarence
d.1479 – Second son of Richard, duke of York. Married to Isabel Nevill, daughter of Warwick (the “Kingmaker”).
Edward IV
eldest son of Richard, Duke of York. Married to Elizabeth, Lady Grey, widow of Lord Grey of Groby. Father of Edward, Prince of Wales, and Richard, the young Duke of York. Acceded to the throne in 1471 – died 1483
Sir Robert Brakenbury
Lord lieutenant of the tower of London
William, Lord Hastings, Lord Chamberlain
head of the King’s household.
Anne Nevill
Youngest daughter of Warwick, widow of the Lancastrian Prince Edward, eventual wife of Richard.
Queen Elizabeth
wife of King Edward IV and mother of the princes in the tower.
Anthony Woodville, Lord Rivers
the Queen’s brother.
Lord Grey
the Queen’s brother
Thomas, Marquess of Dorset,
the Queen’s son by her previous marriage
Duke of Buckingham
Richard’s cousin and ally
Stanley, Earl of Derby
Ally of King Edward – stepfather of Henry Tudor, Earl of Richmond
Sir William Catesby & Sir Richard Ratcliffe
Allies of Richard
Queen Margaret
widow of King Henry VI, mother of Edward, Prince of Wales who was killed in battle by Richard, Edward and Clarence. Deposed Queen of England.
Edward, Prince of Wales
later King Edward V (acceded 1483, died 1483), Son of Edward IV and Queen Elizabeth
Richard, Duke of York
his younger brother.
Duchess of York
widow of Richard Duke of York and mother of Richard, Edward, and Clarence.
Jane Shore
former mistress of Edward IV, and subsequently of Lord Hastings.
Henry Tudor
Earl of Richmond, later King Henry VII
å`
A history play — true to history?
The bloodiest murder?
When history denounces Richard, focus tends to be on the fate of his two nephews, Edward V and Richard of York. However, Richard's downfall was probably due just as much to his unfortunate habit of leniency towards his proven and suspected enemies. In a ruthless and bloody age, the archetypal tyrant may in fact have been too soft on crime.
Richard's nephews were last seen in public in October 1483 and rumour swiftly began to blame him for their disappearance, helped by foreign commentators such as Dominic Mancini and Henry Tudor's own advance spin-doctors. There is no safe and certain answer to the question of their ultimate fate and numerous theories have been proposed over the years, none of which is conclusive. In Richard's defence, their deaths were of no political use to him unless their death was proved and accepted as fact beyond a shadow of a doubt, thereby removing any hope of rebellion in their name.
The bloodiest murder?
When history denounces Richard, focus tends to be on the fate of his two nephews, Edward V and Richard of York. However, Richard's downfall was probably due just as much to his unfortunate habit of leniency towards his proven and suspected enemies. In a ruthless and bloody age, the archetypal tyrant may in fact have been too soft on crime.
Richard's nephews were last seen in public in October 1483 and rumour swiftly began to blame him for their disappearance, helped by foreign commentators such as Dominic Mancini and Henry Tudor's own advance spin-doctors. There is no safe and certain answer to the question of their ultimate fate and numerous theories have been proposed over the years, none of which is conclusive. In Richard's defence, their deaths were of no political use to him unless their death was proved and accepted as fact beyond a shadow of a doubt, thereby removing any hope of rebellion in their name.
Synopsis
After years of civil unrest between the royal houses of York and Lancaster, Edward IV is undisputed king. However, his brother Richard Duke of Gloucester plots to seize the throne for himself, removing anybody in his path. He starts by having their other brother the Duke of Clarence arrested for treason and placed in the Tower of London.
Richard also decides he needs a wife and sets out to woo her the widow of Henry VI's heir, Lady Anne, whose husband and father in-law he has murdered. Though she has every reason to hate him, Anne soon capitulates.
All is not placid in the English court, however. Edward has married beneath him, and his wife Elizabeth has brought with her a troupe of relatives who now occupy positions of great power, and who are widely loathed by the established nobility and the King’s own family. Into a confrontation between these factions walks the old Queen, Margaret, the widow of Henry VI, cursing everyone in sight and wishing terrible misfortunes on them to match the wrongs done to her, Richard being singled out for the worst of these.
In the meantime, Richard expedites Edward’s orders for the death of Clarence, which is duly undertaken by two murderers.
King Edward, who is sick, tries to force his Queen's family to become friends with his noblemen. Richard enters the room and immediately destroys this tranquil scene by telling them that Clarence is dead. On hearing of his death, Edward IV is taken even more ill and dies, leaving his son Prince Edward to inherit the throne.
In his new role as Lord Protector, Richard travels to where Prince Edward is staying, and helps the boy come back to London. He has Edward's heirs confined in the tower, supposedly for safe-keeping and to await the coronation. He also calls for two councils, one of which is public and meant to put Edward on the throne, and one of which is private and meant to put Richard on the throne. Edward IV's widow, Elizabeth, mistrusts Richard and is proved right when he has her brothers, Rivers and Grey, arrested and executed.
go to synopsis (2)
After years of civil unrest between the royal houses of York and Lancaster, Edward IV is undisputed king. However, his brother Richard Duke of Gloucester plots to seize the throne for himself, removing anybody in his path. He starts by having their other brother the Duke of Clarence arrested for treason and placed in the Tower of London.
Richard also decides he needs a wife and sets out to woo her the widow of Henry VI's heir, Lady Anne, whose husband and father in-law he has murdered. Though she has every reason to hate him, Anne soon capitulates.
All is not placid in the English court, however. Edward has married beneath him, and his wife Elizabeth has brought with her a troupe of relatives who now occupy positions of great power, and who are widely loathed by the established nobility and the King’s own family. Into a confrontation between these factions walks the old Queen, Margaret, the widow of Henry VI, cursing everyone in sight and wishing terrible misfortunes on them to match the wrongs done to her, Richard being singled out for the worst of these.
In the meantime, Richard expedites Edward’s orders for the death of Clarence, which is duly undertaken by two murderers.
King Edward, who is sick, tries to force his Queen's family to become friends with his noblemen. Richard enters the room and immediately destroys this tranquil scene by telling them that Clarence is dead. On hearing of his death, Edward IV is taken even more ill and dies, leaving his son Prince Edward to inherit the throne.
In his new role as Lord Protector, Richard travels to where Prince Edward is staying, and helps the boy come back to London. He has Edward's heirs confined in the tower, supposedly for safe-keeping and to await the coronation. He also calls for two councils, one of which is public and meant to put Edward on the throne, and one of which is private and meant to put Richard on the throne. Edward IV's widow, Elizabeth, mistrusts Richard and is proved right when he has her brothers, Rivers and Grey, arrested and executed.
go to synopsis (2)
Synopsis (continued)
The Duke of Buckingham becomes Richard's chief advisor and together they plot Richard's accession to the throne. Richard quickly puts Lord Hastings to death, because this Lord Chamberlain was unwilling to support Richard's attempt to seize the crown of England. With Buckingham helping him, Richard then orchestrates a neat scene in which he argues that Prince Edward is not in fact the legitimate heir. That would make Richard the next in line to the throne. The Lord Mayor of London agrees to this, and urges Richard to accept his duty. Richard feigns his reluctance and accepts
King Richard III moves quickly to destroy anyone he suspects as being dangerous. His first act is to hire a murderer and kill the two children, Prince Edward and his brother York. Though he had promised Buckingham an earldom for his help, he refuses to grant it when Buckingham refuses to kill the princes held in the Tower. A new killer, Tyrrel, is hired for this job, while Richard attempts to marry the daughter of Queen Elizabeth and of Edward IV to prevent his enemy Richmond doing so and thereby strengthening his claim to the throne.
Fearing for his safety, Buckingham flees to join the last Lancastrian heir Henry Tudor, Earl of Richmond, who is leading an army from France against Richard. Richard manages to capture Buckingham, and executes him for treason. Meanwhile, many of the remaining lieutenants defect to Richmond, who then sails from Brittany towards England with an army. The two armies encamp at Bosworth Field. The night before the battle, the ghosts of his victims torment Richard in his dreams. The next day Richard is killed in battle and Richmond claims the crown as Henry VII. He announces he will marry Elizabeth of York and finally unite the two warring factions.
The Duke of Buckingham becomes Richard's chief advisor and together they plot Richard's accession to the throne. Richard quickly puts Lord Hastings to death, because this Lord Chamberlain was unwilling to support Richard's attempt to seize the crown of England. With Buckingham helping him, Richard then orchestrates a neat scene in which he argues that Prince Edward is not in fact the legitimate heir. That would make Richard the next in line to the throne. The Lord Mayor of London agrees to this, and urges Richard to accept his duty. Richard feigns his reluctance and accepts
King Richard III moves quickly to destroy anyone he suspects as being dangerous. His first act is to hire a murderer and kill the two children, Prince Edward and his brother York. Though he had promised Buckingham an earldom for his help, he refuses to grant it when Buckingham refuses to kill the princes held in the Tower. A new killer, Tyrrel, is hired for this job, while Richard attempts to marry the daughter of Queen Elizabeth and of Edward IV to prevent his enemy Richmond doing so and thereby strengthening his claim to the throne.
Fearing for his safety, Buckingham flees to join the last Lancastrian heir Henry Tudor, Earl of Richmond, who is leading an army from France against Richard. Richard manages to capture Buckingham, and executes him for treason. Meanwhile, many of the remaining lieutenants defect to Richmond, who then sails from Brittany towards England with an army. The two armies encamp at Bosworth Field. The night before the battle, the ghosts of his victims torment Richard in his dreams. The next day Richard is killed in battle and Richmond claims the crown as Henry VII. He announces he will marry Elizabeth of York and finally unite the two warring factions.
Richard III in the 20th Century
Richard III is the Bard’s most performed play and the title role has been performed by such diverse actors as Sir Alec Guinness, Sir Alan Bates, Al Pacino, Denzel Washington, Antony Sher, Ian Holm, Kenneth Branagh, Simon Russell Beale and Barrie Rutter.
Richard III has been filmed a number of times, starting with a silent version in 1911. The Tower of London, a 1939 B-movie, starred Basil Rathbone as Richard and featured Boris Karloff in a role invented for the film.
The role of Richard III was perhaps the most vivid of Laurence Olivier’s illustrious career, both on stage at the Old Vic Theatre and in the version he directed himself in 1956. Olivier's film had its American debut on NBC television with an audience estimated at 50 million; more people saw Olivier's Richard III than had seen it in its entire 350-year production history. The film won Olivier a BAFTA award and emphasizes the darkness of Richard's soul through repeated images of Richard's dark, limping hump-backed shadow.
In December of 1995 MGM/United Artists released a film version of Richard III, based on Richard Eyre's 1991 stage adaptation, starring Cambridge graduate and ADC member Sir Ian McKellen in the leading role. Unlike Olivier, McKellen's Richard is played in modern, 1930s dress.
Richard III is the Bard’s most performed play and the title role has been performed by such diverse actors as Sir Alec Guinness, Sir Alan Bates, Al Pacino, Denzel Washington, Antony Sher, Ian Holm, Kenneth Branagh, Simon Russell Beale and Barrie Rutter.
Richard III has been filmed a number of times, starting with a silent version in 1911. The Tower of London, a 1939 B-movie, starred Basil Rathbone as Richard and featured Boris Karloff in a role invented for the film.
The role of Richard III was perhaps the most vivid of Laurence Olivier’s illustrious career, both on stage at the Old Vic Theatre and in the version he directed himself in 1956. Olivier's film had its American debut on NBC television with an audience estimated at 50 million; more people saw Olivier's Richard III than had seen it in its entire 350-year production history. The film won Olivier a BAFTA award and emphasizes the darkness of Richard's soul through repeated images of Richard's dark, limping hump-backed shadow.
In December of 1995 MGM/United Artists released a film version of Richard III, based on Richard Eyre's 1991 stage adaptation, starring Cambridge graduate and ADC member Sir Ian McKellen in the leading role. Unlike Olivier, McKellen's Richard is played in modern, 1930s dress.