EDWARD III: William Shakespeare, RSC, Swan till 14 September. Then Newcastle-
EDWARD III: William Shakespeare
RSC, Swan Theatre, Stratford: Tkts 0870 609 1110
Runs: 2h 55m, till 14 September 2002, in repertory, evenings at 7.30, check for matinees
then Newcastle-upon-Tyne Playhouse in rep 23 September-12 October
Tkts (Newcastle) 0870 905 5060
Review: Rod Dungate, 26 April 2002
A truly interesting presentation, intriguing though not for the faint-hearted.
This real rarity makes for a truly interesting three hours in the theatre: it's intriguing but not engrossing. Director, Anthony Clark and his team work energetically (and nobly) to keep the patient breathing but for how long it will be resuscitated remains to be seen.
The play concerns itself, not with Edward's reign as a whole, but with his wars against King John of France. It has much to do with kingship, honour, the tendency of the great (both Edward and John) to break oaths, and, twice, the strength of women to overcome this male flaw. The play has pockets of powerful writing but, for the most part, it has a formality both in structure and declamatory style that is, however good the language, not in the least user-friendly: the text lacks, too often, dramatic action and tension.
Tingling with drama, though, is an early sequence between the Countess of Salisbury and King Edward. Edward is a careful and precise man in David Rintoul's performance, a man who clearly frequently thinks before he speaks. He is also brave, strong and prepared to sacrifice his son (the Black Prince) in battle to preserve a code of honour. His attitude to honour, though, is seen within the context of his attempt, prior to battle, to seduce the Countess of Salisbury, wife of one of his leaders. Caroline Faber, wears a simple white dress (designer Patrick Connellan sets up a direct contrast with the heavy panoply worn in both English and French courts) and behaves with a manner to match it. Her quiet dignity, combined with beautiful delivery of her speeches is riveting.
At the opposite extreme, the play becomes almost heraldic at Edward's son's investiture the moment at which the Prince of Wales. is 'given his arms.' As Edward receives each part of his armour, language and stage picture achieve ritual qualities: all good theatrical stuff.
Wayne Cater brings a welcome light touch to the proceedings as the King's secretary. His clowning quality, not at all obvious when you read the play, is nevertheless consistent within it other than an incongruous joke with a clearly modern shiny notebook and plastic pen that work against the world Connellan has so carefully designed everywhere else.
Edward III is not for the faint-hearted, but for the Shakespeare aficionado there's enough meat here to make a wholesome and satisfying meal.
Earl of Salisbury: David Acton
John Copland: Paul Bentall
Duke of Lorraine: Paul Bhattacharjee
Earl of Derby: Vincent Brimble
King David of Scotland: Antony Byrne
Lodowick: Wane Cater
Countess of Salisbury: Caroline Faber
Edward, Prince of Wales: Jamie Glover
Count of Artois: Sean Hannaway
Queen Philippa: Sian Howard
Lord Audley: Colin McCormack
Mariner: Keith Osborn
Earl of Warwick: Joshua Richards
King Edward III: David Rintoul
Prince Philip of France: Avin Shah
King John of France: Michael Thomas
Prince Charles of France: James Tucker
Director: Anthony Clark
Design: Patrick Connellan
Lighting: Wayne Dowdeswell
Sound: Martin Slavin
2002-04-28 15:45:39