Nicholas Hytner’s Richard II at Bridge Theatre is a gripping reinvention of Shakespeare’s history play, bringing an electrifying urgency to this tale of power, betrayal, and self-destruction. With Jonathan Bailey at the helm as the ill-fated king, the production pulses with modern relevance, stripping away the pomp of traditional stagings to expose the raw fragility of leadership in crisis.
Bailey delivers a performance that is both magnetic and deeply unsettling. His Richard is not simply a ruler in decline but a man drowning in his own illusions. One moment he exudes arrogant confidence, the next he is grasping at the remnants of his power with the desperation of a man who knows he has already lost. His interpretation leans into the play’s themes of identity and performance, showing Richard as a king who believes in his own myth until reality tears it apart. There are also tantalising hints of queer subtext in Bailey’s performance, from the way he clings to his male followers to the tender, loaded moments of physical proximity with Bolingbroke. It is a fascinating, layered take that adds fresh complexity to Richard’s isolation and downfall.
The supporting cast is equally compelling. Royce Pierreson is a formidable Henry Bolingbroke, calculated and restrained, a stark counterpoint to Richard’s instability. Martin Carroll gives a standout turn as John of Gaunt, his “This blessed plot” speech delivered with a sorrowful grandeur that underscores the weight of lost ideals. The ensemble remains taut and dynamic, keeping the political tensions simmering beneath the surface.
Richard II is a lean, urgent, and emotionally charged production that makes Shakespeare’s political tragedy feel fiercely relevant
The staging is striking in its simplicity. Bob Crowley’s set design is austere, forcing attention onto the characters rather than grand visuals. Bruno Poet’s lighting is masterful, shifting between harsh clarity and ominous shadows to reflect Richard’s shifting fortunes. The decision to place the actors in modern dress enhances the play’s resonance, making the struggle for power feel eerily contemporary. Costumes evolve with the story, with Richard’s regal opulence gradually deteriorating as his control unravels.
The production’s stripped-back intensity invites comparison to Romeo and Juliet recently closed on Broadway, another recent Shakespeare revival that traded in grandeur for immediacy. Where Romeo and Juliet thrived on its physical dynamism and pulsating energy, Richard II is more introspective, a slow unravelling of self rather than a headlong rush into fate. Yet both productions excel at making Shakespeare feel immediate, urgent, and deeply personal. If Romeo and Juliet was a feverish, doomed romance, Richard II is a slow-burning tragedy of self-destruction.
If the production falters at all, it is in the latter half, where the action slows to accommodate Richard’s introspection. While this shift is intentional, it slightly dulls the sharp political edge that dominates the first part. However, Bailey’s command of the stage ensures that even in these quieter moments, the emotional intensity never wanes. His final scenes are a haunting portrait of a man who has lost everything, and they land with devastating impact.
Final Thoughts ★★★★★
Would I recommend Richard II? Without hesitation. This is a bold, thrilling interpretation that strips the play down to its emotional core. It challenges conventional portrayals, opting for an intimate and psychologically rich approach that keeps the audience riveted. The combination of a powerhouse lead performance, razor-sharp direction, and evocative staging makes this a production that lingers in the mind long after the final bow. Whether you are a Shakespeare devotee or new to his work, this is a Richard II that demands to be seen and you must see it.
Playing at Bridge Theatre until 10 May 2025.
Disclaimer: Ticket was purchased without any association or endorsement from the theatre.
