Bravo, Damien Ryan! 5 stars
This production lays bare the madness of kings and kingmakers, revealing power plays and politics that feel just as relevant today as they did in Shakespeare’s time. By reinventing eight of Shakespeare’s history plays and setting them across the last century, the production crafts a world immediately recognisable to the audience. The final moments of Richard III, with the king under the spell of virtual reality, writhing for his horse—“My horse, my kingdom for a horse!”—are especially striking.
A standout performance comes from Liam Gamble, whose biography aptly describes his talent for transforming the stage into his battlefield, with every role becoming an act of conquest. His amplified voice, supported by a personal microphone, enhances his monologues and asides, creating a unique interplay between past and present. His clinical wooing of Lady Anne echoes chillingly through the tower mortuary.
The production is filled with moments of theatrical brilliance. The puppetry of the child kings in Henry VI is ingenious, the illuminated pool centerpiece is mesmerizing, and the town hall meeting of working-class Londoners is a masterstroke. Scenes transition fluidly: from the castle edge to the inner circle, from the grassy knoll to the war rooms.
The musical elements, led by the immensely talented Jack Mitsch, are integral to the storytelling. His mastery of piano, guitar, and percussion adds depth, punctuating the action with snare drum thunderclaps and tolling bells.
The narrative arc brilliantly distills these history plays, making them accessible while preserving their complexity. The journey spans from Richard II to Richard III, highlighting the intricate web of relationships and power struggles. Seeing Henry VI staged again—after last encountering The War of the Roses 15 years ago with Cate Blanchett at STC—was a thrill. That production, like this one, condensed multiple plays into an epic retelling, and it feels like the perfect moment for such a revival.
Ryan’s adaptation seamlessly integrates modern elements without altering Shakespeare’s text. The settings shift from war rooms to torture cells, drawing parallels to contemporary conflicts. The production’s visual style recalls the Globe Theatre’s original Wooden O, a fitting homage given its home at Sport for Jove.
The 17-member cast, including the musician, expertly navigates multiple roles, bringing to life the various kings and their battles over a century of war. Power is shown as something that must be seized, punished, or fought for. The production’s greatest strength lies in Ryan’s intelligent editing, which highlights the interconnectedness of the characters and themes. The seamless transitions between roles, use of puppetry, media, projections, and chapter headings enhance the storytelling.
Costuming plays a crucial role in anchoring the production across decades. The 1950s-60s Royal aesthetic, seen through the lens of Snowden’s photography, captures both passion and pain. The evolution continues through the London riots of the 60s-70s, the rise of 80s power dressing, and the satirical nod to modern populism with the MEGA (Make England Great Again) movement. Technology, from mobile phones to mass communication, is cleverly woven into the narrative, emphasizing the persistent concern of rulers: What will they think of me?—all except Richard III, who remains singularly focused on his own ambitions.
Whether experienced over back-to-back nights or in a marathon 12-hour Saturday session, this production is a feat of endurance and artistry. Each part runs 255 minutes, with two 15-minute intervals, making for an immersive experience.
The battle scenes and fight choreography are exceptional, the set design exemplary, and the lighting powerful. While some media projections felt unnecessary, the chapter markers effectively structured the narrative.
This is a compelling, must-see production. I hope for a tour and an international run—Shakespeare for the people!
With: Marty Alix, Peter Carroll, Andrew Cutcliffe, Gareth davies, John Gadenm Liam Gamble, Lulu Howes, Jack Mitsch (also Musician), Leilani Loau, Ruby Henaway, Katrina Retallick, Oliver Ryan, Max Ryan, Sean O’Shea, Emma Palmer, Steve Rodgers and Christopher Stollery (also Associate Director)
Photos Brett Boardman
26 Mar – 5 Apr 2025
https://www.seymourcentre.com/event/the-player-kings/
