Cleveland Shakespeare Festival's ‘King Richard III’ Provokes a Familiar Frustration

One of the reasons that Shakespeare continues to be performed and beloved over 400 years after his death is the continued relevancy of his storytelling. Of course, the language is beautiful and clever, but the stories and humanity presented within his plays remain achingly pertinent. This is deftly showcased by Cleveland Shakespeare Festival’s (CSF) production of “Richard III,” a political history that is full of grief, frustration and rage.

“The Tragedy of Richard the Third,” commonly referred to as “Richard III,” tells the story of the bloody rise to power and reign of King Richard III of England. The show begins in approximately 1471 during an age referred to as The War of the Roses, when House of Lancaster and the House of York battled for power in a series of civil wars across England. At the heart of the story are three brothers, King Edward IV (current King of England), Richard (Duke of Gloucester) and George (Duke of Clarence). Richard is written as a Machiavellian foe who is “determined to prove a villain” and will seize the crown by any means necessary. As infighting plagues England, Richard connives and lies and murders his way to power.

CSF’s production utilizes swords and thrones and crowns but is set in a modern day United States. The touring, free company stages their production outdoors, meaning that there are few scenic design offerings, so translating the time period are costume designer Jasmine Renee, who dresses the cast in business attire fit for trendy politicians, and sound designer Cody Swanson, who employs a few songs alluding to stars and stripes patriotism. Yet, it is within the acting and directorial choices that audiences should recognize allusions to our current time and circumstances.

Shakespeare wrote Richard as reviled for his appearance, portraying him with a hunchback and withered arm. Liam Stilson plays the titular character in CSF’s production, and while he uses a cane and wears a glove to cover one hand, he doesn’t fit Shakespeare’s descriptors of Richard’s appearance. Instead of Richard’s villainy being inferred from his looks, Stilson’s portrayal is rather charming and highlights the character’s cunning, trickery and ability to manipulate.

This was an intelligent choice by director Rachel Gold, who, in her choice to minimize Richard’s physical differences, makes a more pointed comparison as to how the villains in our lives can take any shape. This choice is also commendable considering that Shakespeare’s description of Richard was prejudiced and likely influenced by Tudor propaganda and the need to maintain patronage from his rulers at the time.

In the role of Richard’s cronies are Jonathan McPherson as Catesby, Kyler Rogers as Ratcliff, Lionel Morales as Tyrell and Beloved Obeng as Buckingham. These players have a good camaraderie on stage and successfully portray a toxic, bro-ish mentality. In the role of both of Richard’s brothers is an ailing and downtrodden Cody Swanson.

The show is named for the dastardly villain committing atrocities to gain power, but CSF’s production is most impactful in its depiction of the fallout of these actions. This is powerfully portrayed by the women in the production who are most often left to pick up the pieces after the unjust and untimely loss of their loved ones.

Jasmine Renee plays a passionate, raw Queen Elizabeth, who is raging against sorrow after her husband, the king, dies, and her children go missing. Also wrought with grief is the late king’s father, the Duchess of York, who is played by a sympathetic, motherly Debi Tinsley. Both Renee and Tinsley give heart-wrenching performances.

Carolyn Demanelis embodies the hardened, tough Queen Margaret, a widow who tries to warn the royal court about Richard’s villainy. The frustration and rage Demanelis portrays when Margaret’s warnings fall on deaf ears feels especially timely. Also full of rage is Lady Anne, played by a captivating and lively Raina Thiegs, another widow made by Richard’s hand.

It should come as no surprise that Richard also plots the death of one of the aforementioned women. While this death typically occurs off stage, Gold made the decision to stage the murder before the audience. This is a powerful choice that gives some autonomy to the victim, and more aptly demonstrates the viciousness and consequences of Richard’s unchecked power.

Richard III is perhaps best remembered for his suspected role in the disappearance of his young nephews, the deposed King Edward V and his brother, Prince Richard, played here by the adorable Ceci Whiteamire and Emaline Bubnick, respectively.

All of the roles are double-cast, save for the part of Richard. While costume and hairstyle changes help translate the portrayals, the Shakespeare novice might benefit from reading up on the show beforehand; it will help keep track of the multiple Henrys and Edwards and Richards.

Whether you’ve seen a production of “Richard III” before or if this is your first introduction to the Bard’s historical tragedy, the grief, frustration and rage provoked by hateful, self-obsessed politicians will ensure that CSF’s production still feels entirely familiar.

“Richard III” runs through Aug. 2, 2026. Cleveland Shakespeare Festival presents outdoor, touring productions. Visit www.clevelandshakespeare.org to view upcoming performance locations. Free to attend.