Performed in English
Written and adapted by Emily Carding and Kolbrun Bjort Sigfusdottir.
Performed by Emily Carding.
Pushing the boundaries of Shakespearean performance, Brite Theater re-imagined Richard III as an intense and intimate one-woman show with the audience playing all other roles.
2016 Tour Dates:
Draper Hall, London, January 14-30, 2016
Assembly Rooms, Glastonbury, February 26, 2016
St David's Church, Exeter, February 27, 2016
Shakespeare Re-loaded festival Rome, April 28, 2016
Shakespeare Re-loaded festival Verona, April 29, 2016
The Lion and Unicorn Theatre, London, May 16-28, 2016
Divadlo Kampa, Prague Fringe and PSC400, Prague, May 31-June 4, 2016
Brighton Sweet Dukebox, June 9-11, 2016
The Rope Walk, Bristol Shakespeare Festival, July 12-14, 2016
Act Alone Festival, Suðureyri, Iceland, August 11, 2016
New York City Fringe, August 15-20, 2016
Somerset Fringe, August 28, 2016
Upstairs at the Western, Leicester, September 29, 2016
Old Fire Station, York as part of Skippko Blank Canvas, October 1-2, 2016
For More Information:
One of Exeunt Magazine's Best Regional Theatre 2016 picks
"a slick, sparse remedy to the overblown and over-rated Fiennes/Goold production." http://exeuntmagazine.com/features/exeunts-national-round-2016/
The Stage review (Brighton Fringe performance, 4 stars)
"a dazzling performance"
“Emily Carding and Kolbrun Bjort Sigfusdottir’s adaptation of Richard III is a smart, sparse, stripped back version of the text built around Carding’s utterly compelling performance. With slicked back hair and a business suit, this is a thoroughly modern monarch – he celebrates wooing Anne with a selfie and gets battle status updates on his iPhone, spinning around the compact space on an office swivel chair.”
"Veering between oleaginous charm and gleeful malice as he ascends to power, then disintegrating into paranoia once he has seized it, this feels like a properly dangerous Richard, made even more disconcerting when played out at such close quarters. The audience are allocated the other key roles, a strategy which has the potential to go awry, but luckily we have little to do other than occasionally stand and (mostly) silently react, and Carding dispels any awkwardness with well-placed asides.”
"The piece works better in some scenes than others. The winning of Anne and her subsequent discarding are surprisingly effective when she is rendered speechless, but the pre-battle set up where Richard’s victims haunt him feels a little flat when we cannot hear their accusations. Paring back the text to one speaker means inevitably some of its richness is lost: with everyone else reduced to mute players, you realise how much of the original’s dynamism stems from Richard’s cleverly crafted interaction with others, his verbal dexterity a reaction to those around him. But overall, the approach pays off, creating a potent distillation of one of theatre’s greatest villains."
Photos: Brite Theater