Dinklage Ditches the Hunchback in Public Theater's Richard III

For many, the title character of Richard III is
physically defined by his hunchback and walking limp—two
images that represent the villainous nature of the character. These
clichés are traded in for something surprising in the Public
Theater’s new edition of William Shakespeare’s classic.
The only physically defining aspect of Peter Dinklage, who plays
the title character, is his height. At four-foot-five, Dinklage
creates a new perception of what form evil can take.

Directed by Peter Dubois and now playing at The Public Theater,
Richard III begins at the end of the Wars of the Roses. The
House of York has finally grabbed England’s crown and hopes
to enjoy a time of peace. But with his brother sitting on the
thrown instead of him, Richard III is overridden with jealousy.
Thus begin his calculated actions to become King of England by
disposing of those unfortunates barring his way.

Because Dinklage’s natural size, rather than costume
alone, conveys the stigma of deformed outsider associated with the
play’s conniving front man, a new spark is weaved into the
story. Dinklage easily embodies the internalized dimensions of
Richard because he already deviates from society’s
preconceived notions of natural appearance. The audience does not
see an actor playing Richard III; they view a man who is Richard
III.

This ability to understand and take part in the
character’s identity is clearly visible through
Dinklage’s superb acting style. His engagement of the
audience through the standard Shakespearean monologue is
commendable. Dinklage’s understanding of the play’s
sarcastic humor is evident in these monologues, providing essential
comic relief. And at the same time, his style makes the viewer feel
like he is a part of Richard’s scheming.

His vivid presence on stage also portrays the true sense of
power that Richard clearly holds. And it is this power which
Dinklage exudes as his character woos Lady Anne (Kali Rocha). He
easily shifts from aggression to tears to sweet tenderness through
a kiss with the skillful Rocha, masterfully manipulating his
emotions so as to bring to life the manipulative air of Richard. In
another scene when Richard has obtained the crown, Dinklage’s
portrayal of cool control combined with fierce madness further
articulates the power which his character both craves and
possesses.

Riccardo Hernandez’s set is stylistically rich despite the
lack of stage props; the occasional throne, bed, or table is
brought onto the stage. More importantly, however, is the use of
fabric and staging, which creates the necessary ambiance of the
play. Red oriental rugs line the walls of the theater space. A
heavy, red, velvet curtain separates the stage into two distinct
spaces. Still more red material covers the floor of the stage and
the molded pillars around it. This overwhelming presence of red
heightens the audience’s understanding of the clandestine
carnage orchestrated by Richard. As the actors occupy this area,
their use of the space and their command of the dialogue negates
the need for the elaborately propped set. Props would have diluted
the power of the play; the open space pervaded with red adds to its
deeper meaning.

Aside from the acting and the set, Scott Zielinski’s
powerful lighting adds further texture to the play. Different
techniques turn the common space of the stage into separate scenes
of action. Harsh spotlights illuminate the several jail scenes,
thus making them more poignant. In the same space, subtle red light
filters through the stage as the dream-like wraiths of
Richard’s murdered victims parade before him in the
battlefield. The red light again represents to the bloody deaths
that Richard causes as well as the gruesome death that awaits him.
Another aspect of the lighting that both dramatizes the play and
offers insight into Richard’s character is its shadowing.
When Dinklage first appears on the stage, proclaiming that,
“now is the winter of our discontent,” his towering
shadow, made disproportionate to body size, is projected onto the
stage’s back wall. The huge shadow periodically appears as
Dinklage interacts with the other actors or reveals Richard’s
plans to the audience. The gigantic shadows, compared to
Dinklage’s short stature, both shock the audience and
emphasize the power his character possesses. They offer a glimpse
of how he views himself vis-à-vis others in the world.

William Shakespeare’s Richard III is brought into a
different light with this new production. DuBois’s vision
forms a seamless fusion with the rich elements of the text, while
Peter Dinklage offers the viewer a new, clarifying image of the
oft-caricatured Richard.