By Bella Poynton
(Image above: Chris Avery (l) as Richard III and Lana Sugarman as Elizabeth/Photo by Lawrence Rowswell)

Most scholars agree that William Shakespeare’s Richard III was written between 1592–93 and first performed by the Lord Chamberlain’s Men at The Theatre in London. It’s the last play in Shakespeare’s first tetralogy (Henry VI Parts 1–3, Richard III), and perhaps his most popular history. When writing the histories, Shakespeare drew heavily from Raphael Holinshed’s Chronicles of England, Scotland, and Ireland (1587), a key historical source of the time, but beyond the politics of the Wars of the Roses, Richard III is also full of dreams and visions, making it one of Shakespeare’s most metaphysical plays. 

In fact, the words dream, dreaming, dreamt or dreams appear 25 times in Richard III — far more than in any other Shakespearian work. Yes — more than in Macbeth, which is all witches and omens, and even more than in Midsummer Night’s Dream, which comes in third place with 18 mentions (Romeo and Juliet is second with 19). Richard III is arguably Shakespeare’s most prophetic play, utterly preoccupied with visions, foresight and prophecy. These metaphysical themes were well-honored in Shakespeare in Delaware Park’s recent production, the second in their 50^th Anniversary season, directed by Greg Stuhr, featuring a strong central performance by Chris Avery and a supporting ensemble of emotionally grounded, text-savvy actors. 

From his opening monologue, Avery’s Richard comes across as both buffoon and master manipulator, and I say this as the best of compliments. Scholar Méline Dumot describes Richard as a villainous clown who relishes his direct connection with the audience. Richard has more moments of direct address than any other character in Shakespeare, and Avery uses these moments to his advantage. He woos the audience quickly with wit and charm, and it’s only during Act IV when Richard’s hold on the world (and the audience) begins to slip, that we really see his monstrosity. Avery deftly handles these tonal shifts from charismatic schemer to brutal tyrant. The performance is a marathon, but Avery never wavers in his commitment or energy, and this is especially impressive considering Richard is one of the longest roles in Shakespeare’s canon, second only to Hamlet! 

The women in this cast were also especially memorable. Diane DiBernardo’s Queen Margaret is a particular standout. She plays the exiled queen with an air of Greek tragedy — she is part Cassandra, part wounded animal — moving across the stage as if attempting to escape her grief. 

DiBernardo gives Margaret a penetrating vocal strength, tinged with anguish, capturing a wisdom no other character seems to understand or believe. I was captivated whenever she was on stage. 

Lana Sugarman’s Queen Elizabeth is a brighter, more innocent performance, but no less compelling. Sugarman plays Elizabeth as the new queen on the block. She leans into the character’s relative newness to the court, showing us a woman who, early on, hasn’t yet fully grasped the danger of her position. This choice tracks historically as well; Elizabeth Woodville was a commoner and widow whose marriage to Edward IV was heavily scrutinized. Sugarman lets this history inform her performance. 

Other strong performances include Kate Olena’s Duchess of York, whose strength in the face of her evil offspring offers a compelling arc. Olena gives a masterclass in emotional layering, allowing both disapproval and tenderness to shine through. John Profeta is perfect as Clarence, Richard’s innocent and prophetic brother. Mike Starzynski uses calm delivery, silences and stillness to vividly convey sheer terror and Steve Copps’ Buckingham walks a thin line between comic relief and moral clarity when he can no longer stand by Richard’s horrific choices. 

Ann Emo’s traditional costumes are lovely and effective; they never upstage the actors but give the audience just enough information to understand characterization and rank. David Dwyer’s set is minimal and icy. Its starkness becomes a visual metaphor for the play’s rapid shifts in loyalty and betrayal. No one is safe anywhere. Especially in the tower … 

Stuhr’s clear tonal shift during Act IV, Scene 2 is one of this production’s most effective choices. Until that point, Richard’s ambitions move us forward unchecked, and we’re along for the ride. It’s fun … until it’s not. No spoilers, but ultimately Richard commits an act we can’t abide. Tom Makar’s music and sound design darken, Emma Shimminger’s lights grow dimmer and Avery’s performance becomes one of haunted paranoia instead of witty villainy. Although several of the ghosts traditionally featured in the tent scene are cut for time, one remains (I won’t spoil who!) and their presence is enough to convey the scene’s weight. 

Ryan Okun as Richmond is perhaps the most understated performance of the evening. Shakespeare presents Richmond (who later becomes Henry VII) as a sort of deus ex machina in the last act. He’s a youthful savior figure whose sheer goodness is so palpable that the character feels a bit like a superhero. Of course, that’s no accident; many of Shakespeare’s histories were used as Tudor propaganda during the Elizabethan era. He not only explored the events leading to Elizabeth I’s golden reign, but also portrayed those events as being fully ordained by God. Okun’s moral clarity and pure-of-heart approach as Richmond captures that ideal: we believe he is not only destined to be king, but a genuinely compassionate one. 

If I have one critique of the production, it’s the somewhat presentational staging. Shakespeare’s work often lives best in the body. It’s sweaty, physical and impulsive. In several moments, I longed for a more corporeal approach — where the actors connect further with their weight and impulses. Why doesn’t the Duchess of York strike Richard? Why doesn’t Queen Elizabeth run? Why doesn’t Richard physically restrain Lady Anne? In moments of real danger, some blocking felt overly static when it could have benefited from some messiness and muscle. 

Still, the evening was a triumph. It was a treat to see so many standout performances in one production: Avery, DiBernardo, Olena, Sugarman, Starzynski, Copps, Okun and several others — including Oscar Lamb and Jackson Davidson as the doomed princes (on the night I attended), and Tuhran Gethers and Amy Dickenson as strong supporting evildoers. This production doesn’t try to reinvent the wheel, it simply tells the story well, with an emphasis on clarity and consequences, reminding us that Richard III is not just a play about power, but also about how quickly the world can shift once power is gained, and how unstable it was to begin with.

“Richard III” will be onstage at Shakespeare in Delaware Park through Aug. 17, with performances Tuesdays through Sundays. Admission is free, but donations from the audience are a major sources of funding for SIDP. All performances begin at 7 p.m. on Shakespeare Hill in Delaware Park (next to Hoyt Lake and behind the Rose Garden, off Lincoln Parkway near the Albright-Knox Art Gallery).

Dr. Bella Poynton is a playwright, dramaturg, actor and theater historian from Buffalo. She teaches at SUNY Oswego. This is her first review for The Buffalo Hive.

CAST

• RICHARD – Chris Avery
• BUCKINGHAM – Steven Copps
• LADY ANNE – Leah Berst
• QUEEN ELIZABETH – Lana Sugarman
• QUEEN MARGARET – Diane DiBernardo
• RICHMOND – Ryan Okun
• KING EDWARD – David Lundy
• GEORGE, DUKE OF CLARENCE – John Profeta
• LORD STANLEY – David Mitchell
• LORD HASTINGS – Michael Starzynski
• DUCHESS – Kate Olena
• MURDERER 1 – Amy Dickenson
• MURDERER 2 – Tuhran Gethers
• CATESBY – Sandra Roberts
• SCRIVENER – Cymbal Byrd
• RIVERS – Talon Powell
• TYRREL – Johnny Barden
• RATCLIFFE – Geno Delmaro
• BRAKENBURY – Elliot Fox
• DORSET/GREY – Connor Graham
• PRINCE EDWARD – Oscar Lamb, Carter Riccio
• RICHARD DUKE of YORK – Jackson Davidson, Christopher Houston
• ENSEMBLE – Elijah Smalls
• ENSEMBLE – Robert Gregg

PRODUCTION STAFF

• DIRECTOR – Greg Stuhr
• STAGE MANAGER – K Gorny
• ASM – Dino Bruce
• ASM – Madge Bellanti
• COSTUME DESIGNER – Ann Emo
• SET DESIGNER – David Dwyer
• LIGHTING DESIGNER – Emma Schimminger
• MUSIC/SOUND DESIGN – Tom Makar
• PRODUCTION SOUND – Mitchell Sulkowski
• FIGHT CHOREOGRAPHER – Steve Vaughan
• VERSE COACH – Kate LoConti Alcocer
• WARDROBE – Jess Vriesen