Director’s Notes
On a summer morning as the approach of the school year neared, I sat down with three plays at my kitchen table needing to decide my semester ahead. One of those plays was Richard III. No sooner had I cracked the cover and began to read did my TV catch my attention in the background with the name of Richard III coming through the airways. I was captivated by the documentary, titled “The King under the Car Park” which just happened to be airing about the discovery and reburial of Richard III in 2012. It was then that I knew this play, or perhaps even “Richard III”, was speaking to me to take another look at this classic to see what could be unburied within.
What I discovered was a play that is still deeply relevant to today. The play takes place during the historical period known as the “War of the Roses” during the late 15th century, where the house of York (represented by the white rose) and the house of Lancaster (represented by the red rose) were both fighting for the throne. As you will see in the play, the different houses are costumed in white and red respectively to help distinguish the two households. It is because of this political infighting that Richard is able to pit each side against the other while playing the victim himself until he tyrannically takes the throne. There is not a better example of how “a house divided against itself” will fall, and usually fall into the hands of a dictator. This is more than relevant today. Additionally, Richard justifies his violent actions because he perceives he is mistreated for his deformity and convinces himself that everyone is against him. By the end of the play, he realizes that by thinking he is the victim he has in reality become the villain victimizing others. By seeing society as the enemy has made himself the enemy against society. We still unfortunately see this play out today.
Another relevant theme within the play is that Richard III mistakenly believes he has control over others and his own fate, while supernatural forces are working against him for his wickedness. In the beginning of the play George, Duke of Clarence has a dream detailing his crimes as he is taken into hell, then shortly after is murdered by Richard’s cronies. Richard believes he is in control, but Clarence is merely paying the price for his former crimes. Later in the play, the previous Queen Margaret, who was dethroned by Richard and his family, cries out for justice in the house of York and all of her prophecies about Richard’s demise come true. Finally, the night before Richard is to face his enemy Richmond in the battle to keep the throne, the ghosts of those he has murdered bless Richmond and then cry out from the dead for justice against Richard. Richard tries to take control of his fate by suicide but is interrupted and decides to play out his demise to the bitter end.
However, Richard’s power on the stage is mainly due to his theatrical and often satirical presence. He uses wit and charm to draw the other characters into his plots while simultaneously drawing us as the audience in as well. At the start of a scene, he speaks directly to the audience to let us in on his plans, steps back into the action on stage, then returns to the audience to celebrate and boast about his achievements. By pointing out the weaknesses and ignorance of the other characters we find ourselves complicit with his wicked schemes. Only after he achieves his goal of attaining the throne does he become isolated and paranoid, even from the audience. The only characters he is not able to charm and manipulate within the play are the women. This play contains some of Shakespeare’s strongest female characters. Richard ultimately is left speechless and helpless next to their strong wills and moral fiber. That alone is worth putting on a stage for a modern audience.
