“Richard II,” or the queen who would be king

11/13/2025

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This is a dramatic, high-contrast theatrical photograph featuring two performers in bold, stylized costumes under stark lighting. On the left, a woman stands in a striking black velvet jacket with wide white lapels, a white shirt, and a black-and-white patterned tie, holding a dark cord that leads toward the man. Her expression is intense and focused. On the right, a heavyset man in a tan suit with a dark tie is gripping a microphone and appears to be singing or speaking passionately, with a fervent, almost desperate expression. The background is a mix of dark and red lighting, and a third figure in a light brown jacket stands between them, out of focus. This scene is likely a confrontational or emotionally charged moment, possibly from the production of Richard II, given the dramatic mood and contemporary costuming that reinterprets classic characters. — Sarin Monae West, James Seol, and Daniel Stewart Sherman in a scene from Red Bull Theater's Off-Broadway production of RICHARD II, by William Shakespeare, adapted and directed by Craig Baldwin. (Photo by Carol Rosegg)

This image captures an intimate and highly dramatic theatrical portrait of a shirtless male performer, likely portraying Richard II, seated cross-legged on the stage floor. The actor is illuminated from above by a harsh, warm spotlight against a nearly black background, creating strong shadows and highlighting his defined muscles and intense, upward gaze. He is wearing light shorts or underwear, and is surrounded by a pile of shiny, dark, crumpled material, possibly gold or black fabric, suggesting themes of dispossession, royalty stripped of power, or emotional turmoil. The minimalist set structure in the background is dimly visible, emphasizing the actor's isolation and vulnerability. — RichardII114r Michael Urie in a scene from Red Bull Theater’s Off-Broadway production of RICHARD II by William Shakespeare, adapted and directed by Craig Baldwin. (Photo by Carol Rosegg)

Shakespeare’s Richard II is, like all of Shakespeare’s history plays, not to be relied upon for historical accuracy. Of course, Shakespeare was writing during the reign of Elizabeth I, so one had to be very careful in writing about her ancestors. Still, as Elizabeth reportedly said to a biographer, “I am Richard II, know ye not that?” and performances of Richard II were always suspected of being treasonous.

Red Bull Theater is presenting a version of Richard II revised and directed by Graig Baldwin, with the out queer actor Michael Urie in the title role. Urie, last seen on Broadway in Once Upon a Mattress as the lovelorn Prince Dauntless, turns in a performance that captures many of the character and mental flaws that lead to the historical Richard’s downfall.

He also manages the quick mental changes that show Richard’s equivocation and capriciousness. However, some of Urie’s line readings bring to mind Richard Dreyfuss’ Richard III in the movie The Goodbye Girl, awash in queeny gay stereotype.

Other characters from Shakespeare’s original are gender-switched from male to female. In this Richard II there is a Duchess of York and Countess of Northumberland (Kathryn Meisle and Emily Swallow), wielding power their historical counterparts would never have had. Richard’s unnamed Queen (Lux Pascal) is a material girl, faithful as long as her status remains unshaken, while his male lover, the Duke of Aumerle (David Mattar Merten), son of the Duchess of York, brings about his final downfall. In several scenes, Richard’s sexually ambiguous nature is on display, with Urie’s mostly naked body on full display, either in underpants or luxuriously wrapped in gold cloth.

Grantham Coleman co-stars as Richard’s rival, cousin, and usurper, Henry IV, son of John, Duke of Lancaster (Canada Lee). Henry is temperamentally the opposite of Richard: calm, resolute, forgiving, and with a touch of humility. Exiled by Richard early in the play, Henry returns after John’s death only when Richard denies Henry his inheritance and title, keeping the property and fortune for himself. Henry at first denies wanting anything more, but rebellious nobles, tired of Richard’s caprices, urge the throne upon him.

This theatrical photo captures a compelling scene from the production of Richard II, featuring six male-presenting performers in a minimalist, black, box-like set structure defined by thin metal frames and vertical light strips. The actors, who are mostly shirtless and wrapped in white towels or bathrobes, create an intimate group tableau. One central figure wears a small crown, suggesting royalty, while others lounge around him, one looking up attentively. The scene, which contrasts historical drama with modern attire and minimalist staging, suggests a moment of vulnerability, leisure, or perhaps a pre- or post-ritual gathering of the court. — Sarin Monae West, Lux Pascal, Michael Urie, David Mattar Merten, Ryan Spahn, and James Seol in a scene from Red Bull Theater’s Off-Broadway production of RICHARD II, by William Shakespeare, adapted and directed by Craig Baldwin. (Photo by Carol Rosegg)

Arnulfo Maldonado’s set is dominated by a large open-sided metal and clear plastic cube which revolves to denote changes of scene. Thus it becomes Richard’s throne room, Henry’s command center, a fortress in which Richard and Aumerle take refuge, and various other spaces both indoors and outdoors. Jeanette Oi-Suk Yew’s lighting design is primarily plain yellow-white light that switches to red to denote violent death or heightened sexual passion. Rodrigo Munoz’ costumes are stylistic versions of military uniforms and dress formal court attire, adding a layer of definition to the various characters.

This photo, another from the production of Richard II, features a dramatic shift in mood, showing two performers relaxing in wooden deck chairs against a dark, featureless backdrop, possibly lit with green light. The man on the right, likely Richard II, is wearing sunglasses and a patterned, open short-sleeve shirt over shorts, smiling subtly while leaning back. The woman on the left, possibly a key figure like Queen Isabel, has a more pensive expression, wearing a patterned top and high-heeled shoes, with one leg stretched out. The casual clothing and relaxed posture stand in stark contrast to the play's high drama, suggesting a scene of temporary escape, nostalgic reflection, or perhaps a modern reinterpretation of the historical setting. — Lux Pascal and Ryan Spahn in a scene from Red Bull Theater’s Off-Broadway production of RICHARD II by William Shakespeare, adapted and directed by Craig Baldwin. (Photo by Carol Rosegg)

This is not your grandparents’ version of Shakespeare’s Richard II. It is a slimmed down, more contemporary adaptation that makes it easier to follow than the usual Shakespearean history play. As such, it makes for an interesting introduction to the histories, heightening and clarifying the interrelations of the characters for a modern audience.

There are several ways that it is not perfect — use of stereotype, lack of historical accuracy (Shakespeare’s cross to bear), some glaring anachronisms (video cameras recording Richard’s abdication) — so I cannot recommend this to everyone. Still, as a production it’s a worthwhile experiment, and if you can’t take risks with new representations of the classics in the theatre, where can you? For those who take an interest in such productions, I recommend spending time experiencing the tragedy that is Richard II.

Richard II is presented by Red Bull Theater at the Astor Place Theatre, 434 Lafayette St., in New York through Dec. 14, 2025. For more information or to purchase tickets, go to redbulltheater.com.