Adapting Richard the Second: Interview With Anna Coombs

Anna is a theatre director and writer. She has worked nationally across Great Britain and Ireland. She has previously adapted two classic plays for Tangle – DOCTOR FAUSTUS and VOLPONE, and two poetic works, NO ONE IS AN ISLAND (2017) and WATER, BREAD AND SALT (2018). She has directed all of Tangle’s productions. She has also worked at The Abbey Theatre, Dublin, New Vic, Stoke on Trent, Hall for Cornwall, at English National Opera (with Jonathan Miller), The Marlowe, Canterbury, Oxford Playhouse, Soho Theatre, National Theatre and across London’s West End for Bill Kenwright Ltd, Thelma Holt CBE and Lord Andrew Lloyd Webber’s Really Useful Group.

How did you have the idea to adapt RICHARD THE SECOND?

I have always loved this play. The dynamics of power reflect so neatly our current situation, not only in this country but also across the world. With RICHARD THE SECOND I wanted to create an immediate, accessible set of dramatic circumstances that everyone can identify with. During lockdown I was struck by the lack of immediate physical contact in the play, which made it an ideal choice for a socially distanced project. Further down the line I then started to see a powerful resonance with our current political situation in England, best emphasised by John of Gaunt’s famous speech. I then started the task of working out whether this huge play could be reimagined for a cast of only five. With DOCTOR FAUSTUS, there was a clear rationale: our cast of three formed a modern ‘Holy Trinity’ reflecting the religious premise of the play. Clever doubling with VOLPONE emphasised its themes of deception and disguise — our adaptation lent itself well to a smaller cast.

What did you focus on to tell this story?

In adapting the script, the first point of inspiration was the character of Edward Aumerle. He is first cousin to both Richard and Henry, and like them, in line to the throne and an important political player. I kept coming back to Richard’s observation. ‘Aumerle, thou weep’st, my tender-hearted cousin.’ I thought: there’s more to this than meets the eye! Why does he weep? Why is he tender hearted? Aumerle appears consistently throughout the play, interfacing with both Richard and Henry, but has minimal speaking lines (he is present, but almost completely silent in the opening scene). Yet Aumerle holds some of the most emotional moments, begging Henry for pardon towards the end, and weeping openly at Richard’s demise.

I had a feeling there could be more to this character. In paring down the story for a cast of five, Aumerle becomes a fully-fleshed personality – holding both the emotional / friendship role taken in the original script by Queen Isabel and the political arguments led by the Bishop of Carlisle. He is also a vital foil to both Henry and Richard. In expanding the character of Aumerle, the story becomes more intensely focused on the three first cousins, their fathers and uncles; making it an intimate and sometimes toxic affair which questions family loyalty above political or democratic loyalty.

What was the adapting process like?

I started by reading the original text in full, and looking at character patterns, staging and style. I quickly realised that the pageantry in the play could be pared down, making main characters, their emotions and their decisions raw and exposed. I also felt very strongly that Richard is not a bad person. He is often portrayed as arrogant, irresponsible and uncaring. Whilst he does have a hot temper which surfaces several times, this may be a result of the pressure he is under. He was crowned as a teenager, after all! By removing his ‘sycophants’ Bushey, Bagot and Green, Richard’s human traits and motivations are more clearly revealed. He is purer in spirit and his actions are more personal and immediate – there is nothing and nobody for him to hide behind. This means the plot moves very fast and it is exciting on every level.

After reading the play I started to work through it in depth. I cut out sections of text and characters that did not drive the story forward. In essence I removed everything in the play that did not progress the story. Having decided to enhance Aumerle as a part I made choices to give this character the voice for certain key plot points – some of these are described above.

I was able to R&D the adaptation with two trusted colleagues, both excellent classical actors, and we read early drafts out together. This helped us see that the story was clear, but there were some lumps and bumps. A further week of R&D with five actors at MAST involved more detailed dramaturgy; we cut three characters and brought back certain key lines. Then we had our script.

Another important element was working on early design concepts with our set designer, Colin Falconer. He enjoys listening to the words, but is a visual thinker, and helped me see where characterisations were not yet clear. He also helped to map out the physical locations in the play.

What do you hope for audiences who experience the production?

I hope this production will show everyone that Shakespeare is – and should be – immediate, compelling, and accessible, and that they will be gripped by what is now a very fast-moving plot. With the ‘pomp and circumstance’ and other place holders stripped away, our adaptation enables audiences to follow the story clearly but also make up their own minds about who is ‘right’. It should open up big questions about leadership, power, political control and responsibility. The amazing lyrical language and poetic beauty in RICHARD THE SECOND is beyond comparison. My hope is that everyone who sees it takes away dramatic moments, lines and phrases which will remain with them in times to come.