SUBMIT ABOUT FAQ
PEOPLE COMPANIES VENUES
LOGIN NEW USER PRODUCTIONS
REVIEWERS SIX DEGREES
A User-Driven Site for Theater in Atlanta, Georgia
Richard III

a Play
CATEGORY : DRAMA
by William Shakespeare

COMPANY : Georgia Shakespeare [WEBSITE]
VENUE : Conant Performing Arts Center [WEBSITE]
ID# 2309

SHOWING : October 11, 2007 - November 04, 2007

[REVIEW THIS PRODUCTION]

PRODUCTION DESCRIPTION

The ruthless Richard will stop at nothing to take over the crown. Using his flair for seduction, his sardonic wit, and his henchman's hands, the foul humpbacked toad masterminds his way to the top.


CAST & CREW LIST
Set Designer Kathryn Conley
Composer/Sound Designer Haddon Givens Kime
Stage Manager Margo Kuhne
Lighting Designer Mike Post
costume designer Sydney Roberts
Hastings, Tyrrel, Richmond Brik Berkes
Clarence, Stanley, King Edward IV, Archb James Donadio
Catesby, Rivers, Neal A Ghant
Queen Margaret Tess Malis Kincaid
Lady Anne Park Krausen
Buckingham, Tower Guard Daniel May
Queen Elizabeth Courtney Patterson
Ratcliff, Murderer David Quay
Duchess of York Yvonne Singh
Click to Submit Cast & Crew Info for this production
REVIEWS

[REVIEW THIS PRODUCTION]

An inspiration to a highschool actress and script writer...
by Sv_rincon
Friday, November 2, 2007
4.5
I adored this theatrical experience.Though I'll be the first one to admit that I have little experice in seeing live plays (at least from the vantage point of an audiance member) I thought this was one of the best I had seen. Though some of the bits were a little out of place(for example the children's toys as well as the flashing cameras), I thought it to have wonderful concepts. The make-up jobs of "Richard" and "Margaret" were grand and I was able to see it even better because of where I was sitting. Watching professional actors was a true treat for me and I was extreamly impressed by everyone. Those who had multiple parts especially captured my attentions. It definitly showed each actors flexibility well. I also enjoyed "The umbrellas" I think they did their job perfectly in reminding the viewers of the prescence of the dead. Needless to say, this performance has been ringing in my head. I would recommend it to anyone, even though there were a few distractions. To me, it was brilliant. It was, an inspiration.
(Of course, it helps even more when one's school gets a question and answer session with the actors :D ) [POST A COMMENT REGARDING THIS REVIEW]
Not Bad
by Dedalus
Friday, October 19, 2007
4.0
Was Richard, Duke of Gloucester evil or good? The historical controversy is almost settled (not quite) in favor of the latter – increasingly more evidence is being discovered that the crimes attributed to Richard were really those of his successor, Henry VII, and our view of Richard is really the product of the Tudor propaganda machine.

Did Shakespeare know all this? That’s not especially relevant. He was a product of the Tudor Age, a loyal subject of Henry VII’s granddaughter, and probably had little interest in correcting history, if, in fact, he knew the “real story.”

Does this make Shakespeare’s “Richard III” a bad play? Not by a long shot. Richard is still one of the grandest villains ever created for the stage, and his story provides a giddy experience even for the modern viewer skeptical of its historical provenance.

Georgia Shakespeare has mounted a “Richard III” that is flashy, fast-paced, and, (for a modern “we-need-a-scorecard-to-know-the-players” audience), actually clear. The War of the Roses is over, the York faction is in power, and the King’s little brother Richard has too much time on his hands. He plots and schemes and kills his way to the throne, never letting us forget how much fun he’s having. He gets his comeuppance, and England is now ready for the glorious Tudor Dynasty to guide it into the sixteenth century and beyond!

Joe Knezevich has a lip-smacking good time as Richard, showing us one face and his peers another. That he has half his head shaved (*) to underscore his dual nature is an over-obvious theatricality we forgive, because it does make him hideous to us and to his “targets.” If his weeping on Clarence’s breast is an unconvincing over-the-top moment, he more than atones with his strangely convincing courtship of Lady Anne (Park Krausen).

Director Richard Garner has tossed in a boatload of theatrical touches – a sweeping blood-red cape that dominates Act Two, Old Queen Margaret (a marvelous Tess Malis Kincaid) hanging aloft a new abstract buzzard (**) for every corpse Richard creates, a grandstand set looking for all the world like the theater Richard imagines himself playing to, and a slam-bang climax at Bosworth Field. Many roles are double and triple cast -- still the characters are clear enough we know who’s who and what they’re doing (many judicious cuts also help give the story its clarity and continuity). Special applause should go to the character work of James Donadio as Clarence and King Edward, and to Brik Berkes, who makes a unique (and sweaty) Hastings as well as a righteous and cocky Richmond (the future Henry VII). Daniel May is convincing (as usual) as Buckingham, and Courtney Patterson is good (as usual), as Queen Elizabeth; if she seems too young for the part, well that just adds a new dimension to the “outsider” status the Queen should hold in this court.

I could have done without the been-there seen-there fascist look of the Richardian Faction and Good-Guy White-Hat look of the Tudors, the modern touches (such as the Princes’ remote-controlled toys) jarred a bit too much, and the costuming scheme tried to mix too many different periods together. In the final analysis, though, I found I could forgive these mis-steps. This is, after all, Richard’s world we’re in, and it probably wouldn’t make sense if it made sense.

About 25 years ago, I was in an awful production of this play that clocked in at over four hours (though, for the poor audience, it probably seemed longer). Here, a brisk two and half hours does a much better job of telling the story and letting us share the joy of being a rampaging and murdering despot. Maybe, now we can understand why politics are such an attractive battlefield for the young and wealthy…

-- Brad Rudy (BKRudy@aol.com)

After Note: I hate to criticize a dramaturg’s work, since it is such an under-appreciated field, and, to her credit, Amy Cook’s program notes concentrate on the Richard of the play, not the Richard of history. But I do have to correct one of her notes. She describes Henry Richmond as Queen Margaret’s son – He was in fact, no relation to Queen Margaret, but a descendant of Queen Katherine, who married Owen Tudor after Henry V’s early death. But I digress …

(* Well, it looked shaved from my vantage point in the back of the balcony. I’ve since learned he actually had his “bad side” dyed white.)

(** Actually frayed and tattered umbrellas that recalled the opening moments of the play. But they sure as heck suggested abstract buzzards to me.)
[POST A COMMENT REGARDING THIS REVIEW]


[REVIEW THIS PRODUCTION]

CLOSING SOON
Steel Magnolias
by Robert Harling
Academy Theatre
NOW PLAYING
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Steel Magnolias
by Robert Harling
Academy Theatre
The Spy Who Murdered Me
by Kevin Gillese
Agathas: A Taste of Mystery
Three Ladies of Orpington
by Daniel Guyton
Onion Man Productions

©2012 TheaterReview.com. All rights reserved.