As the queue for Screen 11, the largest in Cabot Circus’ Cinema de Lux, wound around the concourse, I pondered the new-found passion of Bristolians for the works of the Bard. Or were so many of them waiting to see this inaugural live broadcast from the Royal Shakespeare Theatre in
The
evening’s entertainment began with a quaint 1950s introduction to Stratford , followed by a
behind-the-scenes peek at the current production. In between were shots of the stage with a set
which looked holographic but actually comprised curtains of hanging chain
onto which was projected the image of a soaring nave. Into these regal surroundings sweeps the fickle,
unconscionable Richard, who, having sanctioned the murder of his uncle, the
Duke of Gloucester, banishes his loyal agent, Mowbray, and Mowbray’s accuser, Bolingbroke,
even as his victim’s coffin stands centre stage, before seizing Bolingbroke’s
inheritance on the death of his father, John of Gaunt.
It is
hard to sympathise with the narcissistic, tyrannical King, but with Queen
Elizabeth regarding the usurper Bolingbroke as a threat to the divine right of
monarchy, that is what Shakespeare (wisely) asks us to do. Thus, as his allies desert him and power
shifts to the brusque and brutal Bolingbroke, newly returned from exile, the
increasingly vulnerable Richard becomes – well, pitiable.
The
paradox of this fey, self-defeating ruler is that he only grows in authority as
his authority wanes. Only when he has
lost his kingship does Richard appear to value it, only then does the ‘hollow
crown’, which earlier slipped almost over Tennant’s eyes, finally seem to
fit.
‘You can’t feel sorry for him!’ hissed my partner as we left the cinema. ‘Remember the Peasants' Revolt!’ But I was eavesdropping on the comments of the audience, in particular those who might have attended in the hope of seeing a reprise of ‘The Shakespeare Code’, when Doctor Who encounters a Bard in the process of writing his play, Love’s Labours Won. The mood was enthusiastic, surprised even that the language had been a lot easier to understand than they had expected, and with the news that the screening had played to over 60,000 people and generated over £1 million in box office receipts in the UK alone, with more than 34,000 schoolchildren due to see it two days later, this has to be a cause for celebration.
‘You can’t feel sorry for him!’ hissed my partner as we left the cinema. ‘Remember the Peasants' Revolt!’ But I was eavesdropping on the comments of the audience, in particular those who might have attended in the hope of seeing a reprise of ‘The Shakespeare Code’, when Doctor Who encounters a Bard in the process of writing his play, Love’s Labours Won. The mood was enthusiastic, surprised even that the language had been a lot easier to understand than they had expected, and with the news that the screening had played to over 60,000 people and generated over £1 million in box office receipts in the UK alone, with more than 34,000 schoolchildren due to see it two days later, this has to be a cause for celebration.
Photograph © AP Images
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