"Richard III," show #914

It’s a bold move to trim a Shakespearean History-Tragedy down to where most of the “history” elements are removed in service of the themes, namely Power and Politics. However, what tends to make Shakespeare accessible nowadays are, in fact, the themes and characters that are directly connected to--or at least reminiscent of--those we recognize in modern politics or positions of societal power. So, of course it makes sense for a title like Richard III to be the debut selection for Fresno’s new professional theatre company, Chanticleer Shakespeare Company. Blake Ellis’s adaptation requires the plot-driven aspect of this notable title to give space for the messages to speak volumes while being an impressively demanding piece for both the company to execute and audience to engage with. While Richard III may be a daunting title to attend for an evening of theatrical entertainment I assure you that, in the hands of this cast, production and creative team, you will find yourself entertained through thought-provoking speech and a complicated acceptance you’ll find in "rooting" for the villainous protagonist.

What is immediately felt from Brad Myers’s helming of this lean Richard III is how physically embodied each actor gives their role(s). This is a fully physical acting effort by the entire cast, and Myers’s stage pictures, levels, and focus given to soliloquy and scene is incredibly deft and meets Ellis’s adaptation with conceptual cohesiveness. What must be immediately appreciated by audiences is that this production is unapologetically Shakespeare; it doesn’t blow through the language, or beg audiences to accept that Shakespeare should still be done. This show doesn’t attempt to make more of what the text does by itself, and the technical design, acting choices, and directorial style all meet to give the crowd a completely focused showing of Richard III. What is immediately apparent is that this isn’t Shakespeare presented but Shakespeare performed. The level of engagement the cast gives is precisely what the audience must give back. This production dares you to not simply sit back and let theatre happen to you; it demands, and earns, your full attention, where your brain is constantly working, filling in the subtext, bridging the timeline, and absolutely falling victim to Richard’s march to the crown. But fear not, weary readers who don’t want to work hard when seeing theatre, your work as an audience member is paid off by a universally talented cast and team. 

Ellis, from the jump, is a despicably cunning, manipulating Duke, and yet, you can’t help but want him to succeed for want of the drama you know will unfold. With grounded delivery, consistent physicality of the deformed royal, and ability to laugh at his own cockiness, his performance of Richard is a worthy lead of the text. Brandon Weis plays an engaging, earnest yes-man as Buckingham, making the sinful deeds of Richard appear justified and informed. Alexandra Everbach’s passionate disdain for Richard and strong delivery of her opening chastisement serves as a grounding to the strength she must exude in standing toe-to-toe opposite the ambitious tyrant who is Richard. Jacqueline Antaramian gives an emotionally driven performance as Queen Elizabeth, often being one of the few voices-of-consequence to Richard, and affecting deeply in her final standoff opposite Ellis’s conniving Richard when the Queen’s daughter’s life is put at risk. 

Kathleen McCall’s Duchess of York is a powerhouse in piercing delivery, expounding her final lambast and curse towards Richard with a force no one would dare to combat. George Mount is a standout as a genial King Edward IV and well-received comic relief as Lord Mayor. Marikah Christine Leal and James Anderson pair well as Richard’s assassins, Catesby and Ratcliffe, respectively. Easily two of the more difficult roles to pull off in terms of being convincingly intimidating while never falling into caricature, both Leal and Anderson are a devilishly dynamite duo. Darren Tharp delivers a devastatingly heartfelt performance as Hastings, assumed trusty of Richard’s on the road to his ascent to the throne, only to be blindsided and given one of the more extended “final words” speeches, marking his performance as a stamp of the seemingly reason-less ruthlessness Richard doles out. Trevon Gaddis is a commanding Richmond, the ending force who ultimately goes sword-to-sword with Richard. Gaddis is assigned inspirational speech after another and fills the historic Warnor’s Theater with an echo that is enrapturing and enthralling as the play's concluding soliloquizer. Juxtaposing his bravado well is R.L. Preheim as an affectionate, dedicated Stanley.

Technically, this production is universally tops. Dan Aldape’s scenic design redefines what one can do with true projection design, with emphasis given to Design. With just a few panels and projections that look legitimately carved and put on the walls, the setting and locales are consistently contextualizing and impressive, especially in the final battle scene. Brandi Martin’s lighting design aids in blending the traditional Shakespeare with a modern flare, allowing a seamless marriage to unify with mood-setting illumination and intimacy driving every scene. 

At its core, what holds this Richard III together is an entire company of talented artists employed in delivering this text. In the hands of a lesser cast, or director, or technical team, or adapter, a streamlined Shakespeare could fall flat, or fall to irrelevancy, or, even worse, be dull; this Richard III is none of those things. It’s a dramatic piece of theatre that reminds you just how prolific and affecting Shakespeare can be. Go see this show!