Michael Hayden as King Richard II in the Shakespeare Theatre Company’s production of Richard II, directed by Michael Kahn. Photo by Scott Suchman.

I don’t normally write the kind of review that I’m writing today. But to be blunt, I’ve had enough. What is going on at Shakespeare Theatre Company? Inconsistent vocality, acting styles ranging all over from natural to downright hammy, condescending directorial choices, flubbed lines. With so much talent at its disposal, I can only attribute it to growing pains with the Harman Center. But even that excuse is not going to last much longer with me. I love theater and I love Shakespeare. I want everyone to succeed. But if you don’t start bringing it, STC, I’m going to lose faith.

My first hint something was not right with Richard II, now playing in repertory with Henry V as part of an exploration on leadership themes, was in reading Michael Kahn’s directorial notes. He had decided to add a prologue from an anonymously penned Elizabethean play called Thomas of Woodstock because “I’ve always been aware of how mystified the audience is for the first four scenes.” Um, what? The audience has to piece together what happens at the first scene of Hamlet too, but I don’t see anyone advocating giving the ghost’s secret away right off the bat. So this is a choice to enlighten the audience? Why, we’re too dumb to catch up on our own? The patched together prologue is interminable and unnecessary, giving us our first glimpse of Richard’s neurosis and paranoia far too soon, not to mention solidifying in my mind –

Ok, deep breaths. Let’s jump back for a minute. Continue reading →