A northern light on Shakespeare's 'broken' monarch
IN STRATFORD-Upon-Avon, he is the toast of the town. When he heard he was to be offered the role of the misshapen, wrongdoing Richard of Gloucester in the Royal Shakespeare Company’s Richard III, 33-year-old actor Jonjo O’Neill, from west Belfast, had just emerged from a three-year stint with the company.
During that time he had played Orlando, Mercutio, Dromio of Syracuse in The Comedy of Errors, Ilya in The Drunks by Michael and Vyacheslav Durnenkov, and Launcelot in Mike Poulton’s new adaptation of Morte d’Arthur.
“I had decided to take a break from theatre,” he says. “I’d been with the company from 2009 to 2011, performing a string of major roles in Stratford, London, Newcastle-upon-Tyne and New York. I was exhausted.
“Then this came up, which was, well, really surprising. It’s a massive part, the second-biggest Shakespeare wrote, and it carries a huge responsibility. Normally, I come on, do a bit of dirty work, then leave it to other actors to get on with it. But here, the burden of the entire play rests on the shoulders of the actor playing Richard.”
The production is one of a season of three plays under the collective title Nations at War (alongside Shakespeare’s King John and A Soldier in Every Son – The Rise of the Aztecs by Mexican writer Luis Mario Moncada) whose themes are the struggle for absolute power and the right to lead a nation.
O’Neill says that the role was not something on which he had set his sights and he describes it as a play in which actors make their name. And what a galaxy of starry names have gone before him – Laurence Olivier, Ian McKellen, Alec Guinness, Antony Sher, Al Pacino and Kevin Spacey among them.
“I asked [RSC associate director Roxana Silbert] if she intended doing a big number on it, like setting it in Nazi Germany. She said she just wanted to do the play, to go right through the middle of it. Once she said that, I didn’t hesitate. I knew I could go on a journey with the part.”
When it comes to the part, O’Neill appears to have done nothing very much, while pulling off an unforgettable feat of organic, naturalistic acting. For the play’s 3.5-hour duration, he seems no more and no less than his natural self, speaking in his native Belfast voice, exuding personal electricity and holding the audience in the palm of his hand. His intelligent, holistic performance perfectly suits the tone and rhythms of that voice and draws every last nuance and meaning from Shakespeare’s rich, tumbling poetry.
“I didn’t make a conscious decision to ‘do’ Richard with a Belfast accent,” he says. “I always try to do what comes naturally. I would take no joy in being anything less than myself. It’s the same with the physicality. I didn’t want to overdo it, so I have a limp, a stiff leg, a malformed gloved hand and a misshapen shoulder. That’s the minimum.