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Richard III (review)

Richard III, it wasn’t burlesque the audience experienced but the heightened effect still produced by men’s expressing deep and painful emotions: what might have appeared camp instead reinvigorated and deepened the impact of formal renaissance “complaint” and stereotypical characterizations of women. Because audiences saw the male actors constrained by their roles, they not only understood but also felt how these women suffered history. In interviews, Hensley has noted that women and men in the single-sex prison venues responded viscerally and vocally to scenes like this one and the seduction of Lady Anne, not as parody but as mirrors of real-life situations. Different though they are, the popularism of the Guthrie and the populism of Ten Thousand Things share at least one aim: the use of every theatrical means to broaden the audience for and to engage audiences in the tradition of Shakespearean theatre.