Richard II is charismatic, eloquent and loved by his friends. And a disastrous King – dishonest, capricious and politically incompetent.
Echoing down the centuries is the perennial problem: how to deal with a ruler who has a rock solid right to rule but is set on wrecking the country he leads.
Shakespeare’s subtle, ambiguous and beautiful play finds feudal England on the cusp of modernity, as a divinely sanctioned monarch is confronted, in the figure of Henry Bolingbroke, by the hard-headed pragmatism of real authority.
Richard II is played by Jonathan Bailey, whose past work includes Bridgerton, Fellow Travellers, Cassio in Nicholas Hytner’s National Theatre production of Othello and Edgar to Ian McKellen’s King Lear. He has also won an Olivier Award for his role of Jamie in Company and is Fiyero in the up and coming Wicked movie.
__Assisted performances__
Audio-Described Performance: Saturday 12th April, 14:30
Captioned Performance: Friday 2nd May, 19:30
Richard II, with its rigid structure and strict double-narrative about two different styles of kingship, is never going to be a crowd-pleaser unless it’s by star casting. Hence Bailey. He commands the stage and even allows a little camp to seep into the character (Richard’s marriage to his shopaholic wife may be transactional). He doesn’t sugar the king’s brattish reluctance to cede the crown but in later speeches attains a stricken grandeur.
Flinging out bitchy aperçus and florid pronouncements, and passing life-changing edicts on a whim, Bailey’s is a Richard who is instantly guaranteed to make enemies. His boredom with the actual business of affairs of state is flagrant, and we see him lounging, snorting cocaine and enjoying some homoerotic flirtation with his hangers-on, or kicking the walking frame out from under a frail John of Gaunt (on press night, Martin Carroll standing in for an indisposed Clive Wood). Besotted with his own celebrity, he heedlessly courts laughs by flinging out cruel jokes and, on hearing of violent rebellion erupting in Ireland, is most immediately preoccupied by the attention-grabbing opportunity he thinks it offers to play the conquering hero.
| 2025 | West End |
West End |
| 2025 | Off-Broadway |
Off-Broadway |
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