Richard II

For the better part of four centuries, "Richard II" has been one of Shakespeare's most popular history plays—and perhaps his most problematic. The playwright's free interpretation of the last year (1398-99) of Richard's 22-year reign offers no real call to England's greater glory, such as conquering France, and virtually no bloodshed. (The king aborts a crucial duel by banishing both antagonists, and he quells a rebellion in Ireland offstage. His cousin and rival, Henry Bolingbroke, amasses an army but doesn't need to enter battle to achieve his ends.) No, this play is all about domestic politics at the tag end of England's medieval era—and even more about the self-doubt of its reigning monarch. Richard loves the title and the pomp of being the king, but he is as aware as everyone else of his utter incompetence in ruling the country. Bolingbroke seizes on the king's weakness to advance his spurious claim to the throne.

For its three-hour length, "Richard II" is mostly talk—some of Shakespeare's best and most poetic—and precious little action. Thus a successful production depends mightily on the actors playing Richard and Bolingbroke and to a lesser extent on the look of the piece. This uncommonly clear-eyed staging by J.R. Sullivan is blessed on all three counts.

Sean McNall gives a finely nuanced performance in the title role, preening like a self-involved prom queen in the showier aspects of his kingship, cowering like an acne-faced adolescent not picked for the sports team when confronted by his own ineptitude and the loss of his allies and power. (Richard, a boy king, was only 33 when he died.) Grant Goodman gives a complementary, commanding performance as the even younger Bolingbroke, all prosaic practicality and physicality, representing the new order, in contrast to Richard's throwback internal poetic weariness. ("O! That I were as great as is my grief, or lesser than my name.")

The look of this production is stunning, thanks to Harry Feiner's set and Martha Hally's costumes. The grim wooden backdrop and raised platform, leavened by on-and-off backlit stained-glass panels, further the contrast between the ethereal old and earthy new orders. So do the authentic period costumes, all in near-neutral earth tones, save for the king's (and queen's) garish crimson ceremonial robes. In what might or might not be an unconscious metaphor, the furniture-free set leaves King Richard literally without a throne. He gives all of his speeches standing up or sitting on the floor. Only the dying John of Gaunt, Bolingbroke's father (Dan Kremer), gets a proper chair from which to deliver the "scepter'd isle...precious stone set in a silver sea" speech, justly the play's most famous.

Other standout performances include those of Bill Christ as Edmund, Duke of York, the king's and Bolingbroke's uncle, and Carol Shultz as his duchess. Twelve actors play some 30 roles, and the double casting can sometimes be distracting, especially when it's cross-gender. Having Chris Mixon play both Bolingbroke's archenemy, Mowbray, and his chief ally, the Earl of Northumberland, is particularly disconcerting, as is Jolly Abraham's dual casting as Richard's loyal queen and the disloyal Harry ("Hotspur") Percy. Fortunately, Sullivan's decision not to have the actors attempt English accents aids clarity, as Shakespeare's lines shine through unencumbered.
 
Presented by the Pearl Theatre Company at New York City Center Stage II, 131 W. 55th St., NYC. Nov. 20–Dec. 24. Tue., Thu.–Sat., 7:30 p.m.; Wed., Sat., and Sun., 2:30 p.m. (No performance Thu., Nov. 24.) (212) 581-1212 or www.nycitycenter.org.