Richard II

By: Darryl Reilly

…For God’s sake, let us sit upon the ground
And tell sad stories of the death of kings;
How some have been deposed; some slain in war,
Some haunted by the ghosts they have deposed;
Some poison’d by their wives: some sleeping kill’d;
All murder’d: for within the hollow crown…

That famous speech is delivered by Michael Urie with his customary animation as the doomed monarch in this exhilarating production of William Shakespeare’s Richard II.

The lean and sinewy Mr. Urie is first seen just in boxer shorts and later dons a series of over-the-top royal regalia. With his striking facial features, expressive voice, beaming presence, and lithe physicality, Urie once again proves that he is among the greatest actors currently appearing on the New York stage with this charismatic, engaging, and moving, classical stage performance. He briefly even accurately vocally pays tribute to John Gielgud who made a splash in this role on the 1930’s London stage. The admirably openly gay Urie sensually embraces this incarnation’s concept of same sex attraction between the king and his male confederates, particularly during a sauna scene with towel-clad attendees.

This history play was first performed in 1595 and is set during the last two years of the English King Richard II’s reign from 1398 to 1400. He assumed the throne at the age of 10 in 1377 and is now mired in court intrigue as his cousin Henry Bolingbroke (later King Henry IV) conspires to usurp him.

Australian theater artist Craig Baldwin’s modern adaptation is faithful, witty, and brisk. Eurythmics’ “Sweet Dreams (Are Made of This)” is a joyous motif, a few lines of Madonna’s “Holiday” are spoken, and 1980’s pop tune synthesizer melodies abound. Other timely accoutrements include a wheeled video camera on a stand and handheld microphones. A glorious company vividly enact their roles.

Venerable Ron Canada is towering as King Richard’s stately uncle John of Gaunt and as a noble bishop. Dashing Grantham Coleman is a fiery and conniving Bolingbroke. Distinguished Kathryn Meisle is poignant though steely as the Duchess of York. With Three Stooges-style riotousness Daniel Stewart Sherman commands attention as Mowbray and as a military official. Athletic and personable David Mattar Merten offers a sizzling characterization of the king’s object of desire. Alluring Lux Pascal is grand as the Queen. James Seol, Ryan Spahn, Emily Swallow, and Sarin Monae West all sparkle in their multiple roles.

Mr. Baldwin also directed this presentation and his physical staging is rapid, vigorous, and visually stimulating. Integral to its success is scenic designer Arnulfo Maldonado’s clever and bracing centerstage stainless steel frame and wood configuration with a platform at times atop it; actions and locales smoothly flow and shift due to it.

Jeanette Oi-Suk Yew’s arresting lighting design enhances the show with its blend of starkness and dim moodiness. Sound designer Brandon Wolcott renders the variety of music and effects with ferocity. Rick Sordelet’s fight direction is fierce, and his intimacy direction is tastefully racy. Contemporary business attire, military wear, and outrageous nightclub outfits are the hallmarks of Rodrigo Muñoz’s fabulous costume design; lustrous fur coats get a lot of use.

With its superior stagecraft this version of Richard II is a thrilling showcase for Michael Urie and the exceptional cast and is an opportunity to see one of Shakespeare’s less performed plays.

It is presented by the Red Bull Theater which was founded in 2003 and whose mission includes bringing “rarely seen classic plays to dynamic new life for contemporary audiences. Our work unites a respect for tradition with a modern sensibility.” It is the first offering at the under new management by No Guarantees Productions at the Astor Place Theater where the Blue Man Group performed for 34 years.

Richard II (through December 21, 2025)
Red Bull Theater
Astor Place Theatre, 434 Lafayette Street, in Manhattan
For tickets, visit www.redbulltheater.com
Running time: two hours and 30 minutes including one intermission