![]() ![]() This emphasis on appearance complements Jackman-Torkoff’s approach to the character, which foregrounds physicality. It’s all topped off by an ostentatiously large crown. Richard’s outfits feature platform boots, beribboned see-through trousers over trunks, and tank tops, with his emblem, the white stag, slung over his crotch like a G-string. Costume designer Bretta Gerecke dresses Jackman-Torkoff’s Richard all in white, reflecting the character’s self-perception as divine and untouchable. The action starts with a big dance scene and Richard is the life of the party: gyrating, snorting cocaine, showboating (the excellent club-style choreography is by Cameron Carver, with original music by Rhapsodius). This mingling of time and place enhances the production’s queerness: it’s a both/and, not an either/or. The text remains in the historical place and time, in late 14th century-England, and the language remains Shakespearean with edits and additions by Fraser that were, in my experience, imperceptible (I couldn’t tell where Shakespeare ended and Fraser began). The program notes tell us that the action is set in New York City during the ’70s and ’80s, and this is reflected in decor, costumes and lights. That time of buoyant sexual liberation and social change maps well to Richard’s story. Keiley invited Fraser to adapt the play after reading his autobiography “ All the Rage,” in which Fraser chronicles his experiences as an emerging playwright and proudly out queer man revelling in the decadence of the pre-AIDS 1970s and ’80s. Richard understands himself as chosen by God, so his deposition has seismic effects, a move to human-led politics and power grabs. Leading a terrific cast, Stephen Jackman-Torkoff gives an electrifying performance as the self-indulgent, non-stop charismatic Richard, who is tragically ill-suited for his role as monarch.įollowing Shakespeare’s plotting closely, the play charts Richard’s downfall as he loses control of his kingdom to his cousin and rival Henry Bolingbroke, later King Henry IV (Jordin Hall) and is betrayed by many close to him. They’ll be missing out, though: Brad Fraser’s adaptation is as expert as it is provocative and Keiley’s staging is electric, full of striking set pieces amongst pacy scenes. Shakespeare purists and the socially conservative are unlikely to boogie in this wonderland. ![]() This updated Shakespeare tragedy is a wild, decadent ride.ĭirector Jillian Keiley has reset the story of a late 14th-century king of England in the disco era, complete with a dancing chorus of leather-clad angels, a shirtless wrestling match in place of a duel and queer sex in a hot tub.
0 Comments
Leave a Reply. |