Here’s a mixed treat for Shakespeare completists. The second and third parts of the rarely-staged Henry VI trilogy have been condensed into a single narrative by directors Sean Holmes and Ilinca Radulian, and mounted with a small cast alongside the more celebrated sequel.
Though it’s a pleasure to observe a large sweep of Tudor mythology unfold across both plays, they vary wildly in quality. The poetry of Henry VI sounds beautiful and fresh but the story is necessarily rushed and the frantic doubling-up of actors is confusing. The insipid king needs a man of greater charisma than Jonathan Broadbent to animate him.
The macabre jokiness that feels imposed on Henry VI proves illuminating in Richard III, though. Likewise, many actors who give indifferent performances in the first play blossom in the second, not least Sophie Russell’s lascivious, murderous and noticeably humpless Richard.
Russell really gets her teeth into the part, often literally, relishing the upstart king’s malign charm and savagery, dancing through murder scenes in a white suit. Intriguingly, she seems simultaneously male and female as she seduces and slaughters both men and women.
Indeed, the Globe’s policy of gender and colour-blind casting has gone beyond redressing a historic imbalance. One of Shakespeare’s most powerful women, Margaret of Anjou, is well played here by a man, Steffan Donelly.
Lovers of theatrical marathons will doubtless relish the chance to see both plays together. For those weighing the cost of a single ticket it’s a no-brainer. Richard III is a hit: Henry VI a missable curio. But bravo to the Globe for attempting it.
In rep to Jan 26 (020 7902 1400, shakespearesglobe.com)
