Director JoAnn Johnson doesn’t embellish in Richard
II, so I won’t either: The Northwest Classical Theatre Company’s
all-female production of Shakespeare is very good. How good? A quick
glance at the publicity pictures—awkward and static as any play’s
PR shots—just pulled me back into the grip of its story, penned
by the young bard a little before he cashed in on the Hal and Falstaff
buddy comedies that would make him a hot commodity among the codpiece
set.
The plot hinges upon King Richard II’s (Paige Jones, pitch-perfect)
decision to banish his eventual rival, Henry Bolingbroke (Cecily
Overman). It shouldn’t be too much of a spoiler for anyone interested
enough to read this far to say, from here, the story unfolds toward the
death of one of the two.
The all-female cast was inspired by Hillary Clinton’s presidential
campaign last year, but that alone isn’t why the production is such a
revelation. This move could’ve easily lapsed into the kind of gimmick
that keeps Ashland fat and happy with Shakespeare interpretations.
NCTC’s Richard II works because Johnson’s direction is as
elegant as a mathematical proof. She uses little more than subtly
rhythmic and symmetrical blocking (and some scarlet scarves) to build
each scene into a mini-spectacle of pomp and vengeance. Like I said,
it’s very good.