
Jonathan Bailey
Dear Readers, last week I toddled along to the Bridge Theatre for a performance of Shakespeare’s Richard II. This is a very fine theatre, though for those of us who are still a little unsteady on our feet, getting into one of the high seats in the bar was a bit of a performance in itself. More low seats, please!
Richard II was one of my A Level plays, and personally I have never known works as well as the ones that I studied for this qualification. You needed to go deeply into the analysis of the text (it was taken as read that you knew the words) and so there would be a lot of time spent looking at themes, comparing different critics etc. So, I was well primed for taking a fairly nuanced view of this tricky play. I’d also previously seen David Tennant take the lead role when the Barbican were doing the ‘Cycle of Kings’ back in 2014, and I’d loved his performance.
The lead in this production was taken by Jonathan Bailey. He is a serious Shakespearian actor, but these days he is better known for his role in Bridgerton, where he is a serious hearthrob instead. Indeed, the audience contained a fairly high proportion of young women who were, I think, more interested in Bailey than in Shakespeare.
On taking my seat at the end of row B, a young woman a few seats into the row leaned forward.
“When I booked this seat, it was on the end of the row”, she said, pointedly.
“Ah, they sometimes change the seating once the final rehearsals are done”, I said. “But why did you want the end of the row?”
“Well, I thought that maybe Jonathan Bailey would move along the aisle to get to the stage”, she sighed.
“Ah!” I said. “Maybe a few skin cells would have wafted off and you could have cloned him for your own personal use! But don’t worry, we’re close enough here to be spat on”.
She gave me the look that I probably deserved, but all was not lost, because at the interval (Jonathan Bailey hadn’t wafted past, but John of Gaunt and several flunkies had).
“Do you know anything about Richard II?” she asked.
“A little bit”, I said modestly.
“Do you think he was bi-polar?” she asked.
And, uncertain where to even start, I was still explaining about how Richard II had come to the throne when he was only 9, the doctrine of the divine right of kings, how he was convinced of his own absolute power, and how relevant all this was to Certain Autocrats today when the lights went down and silence was blissfully restored.
But anyhow, the performance. The play is worth seeing for sure: all the individual actors are good, the staging is interesting, and Bailey is great at portraying the sheer capriciousness of the King. In other performances, the ‘favourites’, who are the coterie of yes-men and also the King’s bedfellows, are seen as being the reason for the king’s terrible kingship. There is even a speech where the queen speaks of the favourites usurping her marriage bed. None of that here! One of the favourites is a woman, and there is never a whisper of the King’s homosexuality. When Tennant played Richard II, he was able to make us sympathise with Richard, whereas Bailey didn’t. But honestly, I think the Tennant Richard II was probably one of those once in a lifetime performances (and I’m not the only one to think so).
So, this Richard II was entertaining. Who can resist two topless men wrestling in a pit, or an artillery gun on stage? The language is as beautiful as always, and it’s gotten people who might not otherwise come to see a Shakespeare history play into the theatre, and thinking about what it all means. But there is a depth and nuance to this play that this particular version didn’t do justice to, and that’s a shame.
If you want to go and see the play, you’ll need to get a move on – it finishes on 10th May.

































