Why is King Richard III still one of Shakespeare’s most
performed plays?
Through a change in medium, values can be interrupted and reinforced so as to reflect an author’s
respective context. Al Pacino’s 1996 docudrama, Looking for Richard, depicts the personal,
cultural and social ties – as well as disconnections – to Shakespeare’s King Richard III. Through
various cinematic techniques, Pacino modernizes the ageless values of Language, The Allure of
Evil, and The Role of Women, to reach a 20th century audience. It is through this reaffirming of
thematic values that KR III has remained one of Shakespeare’s most performed plays, and as
such transcended time.
A profound use of language is regarded by many to be the main source of permanence for KR III.
The most skilful work unfolds within the confines of dramatic irony. It shapes the action of the
play, and draws in an audience as co-conspirators while they share in Richard’s motives. As
Clarence is led away, his brother dutifully enquires; “What means this armed guard/ That
waits upon your grace?” Richard’s previous plotting would evoke devilish entertainment when
concluded with; “Well, your imprisonment shall not be long”. To an audience historically
removed from the traditional image of Richard, this masterly – though sometimes complex – use
of language may prove as a contextual barrier. This disconnection is most movingly explored
within Looking for Richard.
A fractured verbal link between Elizabethan and 20th century society serves as the chief barrier
between the two texts. Pacino cites this as the main purpose of his docudrama; “…that thing that
gets between us and Shakespeare”. His key tool in overcoming this obstacle is the intertwining
of interviews – both with actors, the general public and historians. Actor Kevin Kline views
dramatic irony as a vital source of magnetism within the play. He uses colloquialism end any
confusion on the nature of this literary device, and resonate with a modern audience; “Wasn’t
that good, or what? Did you see that? This is fun”. This ability to surpass contextual barriers
contributes to the enduring worth of KR III, and can also be applied to The Allure of Evil.
Within the Elizabethan context- and in line with the Tudor Myth – KR III can’t be a tragedy.
Shakespeare’s audience regarded Richard as a renowned villain of history, and as such any
installation of sympathy was unlikely. Richard is presented as inherently evil so effectively
through his physical appearance. He perceives himself as “rudely stamped…deformed,
unfinished” and is constantly dehumanised through animalistic imagery; “hellhound…bunched-back toad”. Even though audiences are likely to be repulsed, they are also
enthralled by his obvious malice; “Shall I be plain? I wish the bastards dead”. His sinful
duplicity is a quality associated with the Vice in medieval morality plays, and the characters
around him share in this mentality; “sin, death, and Hell have set their marks on him”. It is
this human fascination with evil that has contributed to the plays appeal, and applies even more
so within a 20th century society.
The ultimate focus of Looking for Richard is villainy. Pacino’s dominant reading of KR III not
only reinforces, but reignites this core value. Richard is constantly shot in shadows and
consuming lights. His opening soliloquy is intercepted with morbid, black and white photos
depicting deformed and frail bodies. Pacino’s voice-over repetitiously overlays these images;
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“deformed…deformed…deformed…deformed”. Pacino has shaped the image of Richard to
draw in sympathy and appreciation, as opposed to intrigue and disgust. Such a feat would be
impossible had Pacino’s world not been characterised by growing turmoil, and his audience free
from pre-set values. This ability to evoke and conjure also arises from a representation of women.
Although inhabiting a 16th century society, Shakespeare gives strong, prophetic and critical
voices to his female characters. Through mourning, cursing and prophesising, the women of KR
III provide insightful commentary about the true nature of their male counterparts. A
confrontation in Act 4 produces some of the plays most powerful rhetoric, in which Elizabeth
matches Richard in wit; “Shall I be tempted of the devil thus? / Shall I forget myself to be
myself? / Yet thou didst kill my children”. This tenaciousness remains as one of the plays most
poignant features.
Pacino’s omission of the confrontation scene reflects his subjective reading of the play. Nothing
is shown that does not centre on Richard. The Role of Women is mostly embodied through Anne
and her naivety in believing “Richard’s rap”. Yet the presence of actresses lends a modern voice
to these characters and enhances their overall strength. Unwilling to let Pacino’s direction stress
the frailty of the women, Penelope Allen interjects; “They’re not weak…nor do I think that
they’re stupid…by diminishing their importance, you diminish his [Richard] actions”.
The theatre is a place of illusions and performance is ephemeral. This view has surpassed
historical contexts and is exemplified in KR III through character development. Richard. He is
first and foremost an actor, playing a range of meta-theatrical roles in the “direful pageant”.
These range from loyal brother, desperate lover, and benevolent statesman to protector of the
crown. Yet he also casts himself as director of the chaos; “Plots have I laid, inductions
dangerous / by drunken prophecies, libels, and dreams”, while fully acknowledging his
Machiavellian motivations to audiences in asides; “I cannot prove a lover”. It is Shakespeare’s
brilliance as an author that has provided a platform for Pacino’s film essay on acting and
performance.
Pacino uses the nature of acting as a Shakespearean bridge between KR III and Looking for
Richard. The inter-textual use of Prospero's speech from The Tempest both opens and closes the
docudrama; “Yea, all which it inherit, shall dissolve…and, like this insubstantial pageant
faded, leave not a rack behind”. Through suggesting that acting is not real, we are left with the
belief that performance is momentary. Frederic Kimball views acting, as a transcending treasured
value; “actors truly are the proud inheritors of the understanding of Shakespeare.” This
notion rings particularly true through the development of Pacino’s performance. During
rehearsals and meetings, Pacino starts to speak as though he is Richard; “I want to be king,
Frederic, make me king”. Through these fluid cuts we see the interrelated nature of actor and
character, performance and reality.
With a shift in context and medium, Looking for Richard and King Richard III are moulded to
transcend time. The innately human values of Language, The Allure of Evil, and The Role of
Women, add to the plays enduring nature and popularity. Through innovative literary and
cinematic techniques, these values – similar and dissimilar – are able to unite and forever connect
both texts.
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