"King Richard III" and "Twelfth Night" at the Belasco Theatre

  

Mark Rylance as Olivia and as Richard

It is hard not to gush over these two productions sent to us courtesy of London’s Globe Theatre as they are as nothing like any other Shakespeare you have probably seen before, unless you were lucky enough to see these in London. To begin with there is the opportunity to see Mark Rylance as King Richard III and also as Olivia in “Twelfth Night,” as he leads an all-male company (as was the custom during Shakespeare’s time) through these stunningly designed (by Jenny Tiramani) productions that are close to being as authentic and commemorative in style and staging as originally presented, even with having some of the audience watch the play in tiered seating on the stage.

That we have the privilege to share the excitement and the thrill of seeing Rylance capture the devious Richard’s deviously duplicitous nature as well as to see him embrace the graciously aloof femininity of the initially shrouded Countess Olivia is a treat that won’t come around again anytime soon. As extravagantly lighted by candles as well as by a giant candled chandelier, the action of both plays may have you initially startled and/or amused by the obligatory male-playing-female conceit. But your attention will soon be focused simply on the grace and greatness of the performances by Rylance and the entire company.

I doubt if you have ever heard Shakespeare’s prose and poetry spoken as clearly or as comprehensibly. But more importantly, the roles, even the minor ones, are vibrantly acted. Certainly much of the credit for the success of these productions goes deservedly to director Tim Carroll whose reverence for these plays are as evident as is efforts to deepen what we have previously seen or thought we knew about both of these classics.

I was especially thrilled even before the plays began to share in the experience of the actors pre-performance preparations. These include (and please come early) watching the actors helped by the dressers and each other to get into their opulent costumes, also noticing how intently and expertly they warm up like athletes and also go over the required posturing, posing. Most impressive of all is how the men practice the walk of women.

How marvelous that the gloriously baroque Belasco Theater is home to these productions and where it is easy to get into the intimate ambiance that best suits these plays. It is the detail in the performances, however, that is also a marvel. Wearing a billowing, floor-length black silk gown, Rylance appears to either glide or flit across the stage as if he were a member of the Ice Capades. His interpretation of the at-first standoffish soon to be impassioned Olivia has a funnily romantic edge that is a wonderful contrast to his role as the physically and mentally twisted Richard empowering the venomous words that the Bard entrusted to him with undoubtedly more demonic daring than you have ever heard.

I cannot find praise enough for each and every member of the supporting company, whether in women’s garb or not, but Samuel Barnett is a stand-out playing the conflicted Viola in “Twelfth Night” and the also in emotional turmoil Queen Elizabeth in “Richard.” Oh my, beg, borrow or stand (if all else fails), but don’t miss this golden opportunity to see the full company of Shakespeare’s Globe players end the performance doing their famous “jig,” a highlight that will have you doing a jig of your own in your seat.

“Twelfth Night” and “King Richard III”

Belasco Theatre, 111 West 44^th Street

For tickets ($27.00 - $137.00) go to www.shakespearebroadway.com