There's a powerful and vibrant moment in Woodward Shakespeare Festival's production of "Richard III" that captures for me the heart and soul of this intense classic. The royal court, which on the whole is as bloodthirsty, fratricidal and downright nasty a lot as you've ever seen assembled under one roof, has just learned that King Edward IV's brother, George, has perished in the Tower. The king, furious, turns around to glare at the dozen or so people scattered in the room, and everyone immediately falls to their knees. It's as if Edward's eyes have a physical grip all their own as his downward nod drives these important grown-ups into positions of subservience.
I thought to myself while watching the scene: This is the power that Richard, who is literature's poster child for terror and despotism, craves more than anything. He wants to be the arbiter of life and death. He wants to make other human beings do things because he can. Imagine that: being able to make people fall to their knees simply because of an angry downward glance. It's no wonder that Shakespeare was fascinated with power -- not only with those who grab it and keep it, but with all the other complicit souls who embrace tyranny out of fear, cluelessness or self-interest.
One thing I like about this production, which is in its second weekend at Woodward Park, is that director Heather Parish has found new ways to tackle this always-important theme in the play.







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