Preview: Midland Players Present ‘Crookback’, by Christopher M. Walker

‘Crookback’, is a radical reimagining of Shakespeare’s Richard III, set to be performed by Sheffield theatre group, Midland Players later this month. 

Following in the footsteps of such a well-loved playwright is sure to make this production one of the most intriguing in the Sheffield theatre calendar this year.

I had the opportunity to interview the play’s writer and director to find out more!

Taking on one of Shakespeare’s most loved plays is quite a feat. Why Richard III? What sparked your interest to take on this reimagining?

“Most loved” might describe ‘Romeo and Juliet’ or ‘A Midsummer Night’s Dream’, but that’s perhaps not so apt a term for Shakespeare’s ‘Richard III’. With its explicit ableism, equating physical disability with a monstrously twisted soul, I doubt the play is well loved by anyone born with a physical handicap!  It is certainly not loved by those who have done enough historical research to recognise that Richard had the makings of a good king, and see an injustice in the defamatory depiction of him which was crafted to stay in favour with the Tudor regime.  Even those with no axe to grind, might find it difficult to ‘love’ an incredibly long-winded so-called ‘tragedy’ in which the central character is so irredeemably evil that he gloats over the details of how his nephews were murdered on his instructions!  

When Richard III’s remains, with a spine twisted by scoliosis, were found in 2012, I was inspired to read and watch everything I could in order to learn about the real historical figure.  Returning to Shakespeare’s play, my sense of injustice was provoked by such a historically distorted portrayal, but I could still appreciate aspects of the play which audiences enjoyed, and understood the pressures on the writer to portray the deposed king as a tyrant who had to be removed.  It left me wondering how different this play might have been if Shakespeare had felt safe enough to craft a more complex and nuanced protagonist, with virtues as well as flaws, so that his demise would indeed meet the classical definition of tragedy.  In a moment of madness, I decided to imagine myself as Shakespeare, a little embarrassed by this early work, like any great artist, now seeking to improve upon it!

How is this production bringing something new to this story?

This is not simply another performance of Shakespeare’s play with the same lines but tweaks in how characters are acted and costumed.  It is a full ‘root and branch’ rewriting; a substantial part of the original has been removed, new lines and passages added, and the remaining lines revised to be consistent with fresh interpretations of all the characters.

This ‘Richard’, like the real one, has no obvious physical deformity, the sideways curve to his spine being easily hidden when clothed, but it is something of which he is conscious, and acutely aware that others know of.  He is a man who overcame this to earn respect on the battlefield, but now in a time of peace struggles to fit in, and knows that he is looked down upon by the social climbing family of his brother’s wife. 

There is also a difference in the use of contemporary language in this play. This decision was made to encourage everyone to enjoy the story and not feel as if they are having to translate from a foreign language.  It remains in Iambic Pentameter, however, so that lovers of Shakespeare will still feel they are watching Shakespearean drama.

Notably, ‘Loyalty Binds Me’ was the Duke of Gloucester’s personal motto, and this production emphasises the importance of loyalty and the difficulty in trying to figure out who is loyal and who may be a traitor.

In this production, it is made clear that there are multiple individuals with their eyes on the throne –not just Richard.  The ‘Wars of the Roses’, which this story is the conclusion to, were, after all, the historical inspiration for ‘Game of Thrones’.  The Richard of ‘Crookback’ is still something of a rogue, but he is a more sympathetic protagonist, whose resentments are manipulated, he is no killer of children, and he is not running away from battle looking for a horse! 

What is the atmosphere in the run up to the show? What can the audience expect from these performances? 

With a cast of 22 on stage, including two children, there is excitement about presenting something new to an audience to see how it is received, and a little nervousness from our lead actor, Matt Da Gama, about how those in attendance from the Richard III Society will react to his performance.  Despite all the revisions, the play does still present their hero as taking a crown that was expected to go to his brother’s son, so Matt hopes he can get out of the theatre in one piece! 

I think the play is a real audience-pleaser which has something of everything! – passionate romance, tension you can cut with a knife, dark comedy, and even an exciting action scene!  A key part of the story is the mysterious disappearance of ‘The Princes in the Tower’, and there are a few breadcrumbs strewn for detectives in the audience to work out what the author feels happened to them.  Best of all, the play has a wonderful mix of distinct characters, each of them complicated flawed human beings who feel justified in their actions, and I hope the audience will care enough about one or more of these characters that we might even jerk a tear or two! 

Tell us about behind the scenes? How have you used production techniques to enhance the performance? 

In a play with 23 scenes set in 20 locations, the only option for set is the absolute minimum needed, in order to keep the play moving, otherwise about 20 minutes of an audience’s time watching the show could be spent waiting for scene-changes!  When you perform with almost no set, and have 22 actors playing 53 characters, this makes costume vitally important, not only to add visual interest, but also to make a clear statement about each new role the actor takes on.  This is of course exactly how Shakespeare’s plays were performed in his own time, and some of our contemporary costuming choices should surprise and amuse an audience

What impression would you like to leave on the audience?  Is there anything you would like audience members to remember/take away from the show? 

Richard III was responsible for our country’s system of bail, which prevents a person being held indefinitely without trial, their guilt unproven.  It’s ironic, therefore, that this same person is judged guilty of a host of crimes as a result of Tudor propaganda and Shakespeare’s play!  History is indeed written by the victors and their supporters!   I hope our audience will recognise that he lived through our country’s real ‘Game of Thrones’, a time when multiple individuals sought power, and it was hard to know who could be trusted and who was going to be the death of you.  In this atmosphere of paranoia, what might now seem morally questionable choices might be made in order to survive, and even for the good of the country.  The audience should feel some goose bumps at the very end of the play when Henry Tudor assumes power, because it is a salutary lesson: be careful what you wish for!  

Furthermore, the Yorkshire branch of the Richard III Society will have representatives at a stand in the foyer on each night of performance, and be happy to chat with anyone curious to learn more about the last king of England to die in battle.

Lastly, tell us a little about Midland Players. How would you encourage others to join? 

Midland Players, based in Sheffield, is a really inclusive group which is always pleased to welcome new members, regardless of experience. (Matt Da Gama joined us in the summer to operate lighting, and the first time he auditioned he found himself cast as ‘Richard III’!) 

Anyone with a love for theatre and a desire to be involved in any way at all need only get in touch via our website or Facebook page.

‘Crookback- Shakespeare’s ‘Richard III’ Rebooted’, by Christopher M Walker will be performed over four nights, at the Sheffield University Drama Studio from Wednesday 15th through to Saturday 18th February at 7.30 pm.

Tickets are available online or via tickets@midlandplayers.co.uk

The script is available to purchase from any high street bookseller, or online outlets.