![]() ![]() ![]() Bolingbroke and his allies tend towards the medieval end of the spectrum, wearing boots, tunics, and robes, and donning chain mail and light armor as the rebellion intensifies. Olivera Gajic’s costume design follows the production as a whole in inserting a few modern touches into an otherwise traditional aesthetic. Again like the characters, everything has changed, and yet most of the same pieces remain in some form, serving a variation of their original purpose. By the final scene, the axis of the throne room is set aslant: though still visually appealing, the throne itself has been reoriented on the diagonal, and the suspended sun sculpture dismantled and repurposed into something akin to a phoenix. Yet each set piece can be easily pushed around and locked into place, transported from its seemingly firm position and made to form new connections – an excellent visual reflection of the shifting loyalties and convictions of the play’s characters. The set, by scenic designer Daniel Conway, seems at first to be a solid construction of wooden staircases, platforms, and balconies, a symmetrical arrangement centered around Richard’s throne the throne itself sits on a lofty dais and is backed by an amusingly propagandistic sculpture, an enormous radiating sun/halo. #Tamer saga ii series#But whether the start of a series or a standalone, the PSF’s Richard II succeeds on its own. Thus, part of the excitement of the Pennsylvania Shakespeare Festival’s production of Richard II is the potential for a shared universe franchise: Henry IV, Part 1 has been cautiously offered as part of next summer’s lineup. Though scholars frequently study Richard II in the context of Shakespeare’s related plays (his second historical tetralogy of Richard II, Henry IV, Parts 1 and 2, and Henry V), audiences rarely get the opportunity to view them together. ![]()
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