Richard of Gloucester is a walking contradiction–wholly appealing yet slimy and sinister. An absolute menace while letting the audience know what he’s going to do, goes off and does the thing and then reminds everyone why he’s just that good. He is a villain who does plenty of thrillin’.
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There is much to like in Silicon Valley Shakespeare’s “Richard III,” which effectively sets Shakespeare’s tale of Machiavellian conquest gone way, way wrong in the dark, murky world of a film noir nightclub called The Crown and features nonbinary portrayals of the dramatis personae. Richard’s vengeful ambition and false promises litter the outdoor stage in Sanborn County Park, ultimately reminding everyone that the evils pursued by those in power ultimately come apart at the seams, only the remnants of thick blood left behind.
Doll Piccotto’s direction moves through space well, yet there are times when the tableaus and action suffer as a result of less than fluid movement, critical moments of the drama undercut by untimely upstaging and a lack of clear focus.
The plot is a thick one, but mostly focuses at the onset of Richard of Gloucester (Angie Higgins), left alone while others celebrate a critical victory as the citizens enter a winter of discontent. The evils built from a cruel world are the impetus for Richard’s bloodthirst, setting on a path to take over the crown regardless of whom he destroys in the process.
The first piece of his bloody puzzle is wooing the widow Lady Anne (Melissa Mei Jones), mourning her father-in-law, whom Richard also murdered. It’s here where we see Richard’s seductive powers and twisted, effective mind set into motion. His genesis of evil sees plenty others in his crosshairs, family simply a six-letter word.
His brother Clarence (Stephanie Whigham) is a potential threat that must be eliminated with hired assassins doing the deed, finishing off the sibling before dropping him in wine. And in what can be described simply as impeccable timing, King Edward’s illness leads to Richard’s appointment to govern, with support from Lord Hastings (Lauren Rhodes) and Buckingham (Regina Kohl).
Ultimately, Edward’s new widow Queen Elizabeth (Gabriella Goldstein) is forced to witness Richard’s searing cruelty as Edward’s death ensures the queen and her sons are now an unprotected target. But as is often the case with singular rule and kingdoms built on lies and deception, the pathetic nuance of Richard is left bare as others outsmart him. His calculations and instincts that skyrocketed him to rule England completely disappear moments later. By the conclusion of his flamed-out reign, fighting on foot while desperately begging for a horse means a restoration to kinder times is on the horizon.
The film noir setting provides terrific opportunities to shake up the drama, including some witty sound dynamics from designer Christian Pizzirani. While some of the musical interludes are distracting and don’t always serve the drama well, the concepts that frame the story are effective, giving costume designer Lisa Misako Claybaugh some fun opportunities to build critical context.
Performances inside the production offered solid strength, with many veterans in the ensemble providing a mastery of Shakespeare’s meter through a plot that has many moving parts. Jones’ is highly effective as her Lady Anne settles on a delightful balance of power and pain, while Goldstein portrays her Elizabeth with necessary devastation inside a desperate and horrid situation.
A delight of a performance is given by stage veteran Barbara Heninger as Margaret, a critical x factor who can spell doom for the Yorks. Her powerful curses provide hope that justice will be served, and the evils of Richard definitely have a shelf life.
Higgins’ portrayal does not always drive the intentions necessary for true evil, but where she is most effective is finding the humor of the ruthless king. In her hands, Richard builds from observation, offering up context to the audience when needed. It’s the little things that work: sly winks while slinking and shrinking inside the nightclub.
Ultimately, as power slips away like a wet bar of soap, the filth that can no longer be cleansed ensures Richard’s satisfying demise.
The effectiveness of “Richard III” has much to do with what the play says about power, those who achieve it, and ultimately, those who cannot possess it for long. Damage will be done, and much is needed to reverse the filth. But if blood stains the pages of history, there are those willing and ready to wash it clean.
“Richard III” runs through Aug. 29 at Sanborn County Park, 16055 Sanborn Road, Saratoga. Tickets are $31-$61 at svshakespeare.org
David John Chávez is chair of the American Theatre Critics/Journalists Association and a two-time juror for the Pulitzer Prize for Drama (2022-23); @davidjchavez.bsky.social.