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Based on the two Rupert Goold Shakespeare productions I’ve seen – the exciting Stalinist Macbeth and the brilliant Las Vegas Merchant of Venice – I was expecting something a lot more radical. This is a relatively conventional take on Richard III, which is no bad thing, but it surprised me by being so.

There’s a superb contemporary preface, which I won’t spoil, references to which recur throughout. This tells you at the outset that this is history not fiction (though no doubt fictionalised history). Though it’s not that radical, it’s in modern dress, virtually the whole think in black, with comparatively low lighting levels. This contributes to its sinister atmosphere, but also made the long 100 minute first half a bit dull. After the interval, though, the production (like the play) ratchets up several notches and it’s a thrilling second half ride, with an excellent coronation scene, an emotional confrontation between Richard & Elizabeth over his proposal to marry her daughter and a well staged final battle scene. I liked the way they marked the deaths, but I thought they went too far with a violent assault in Richard’s scene with Elizabeth.

It’s superbly well cast, particularly the female roles. Joanna Vanderham is a brilliantly passionate and angry Anne, Aislin McGuckin is exceptional as Elizabeth and Susan Engel is outstanding as Richard’s mother. I’m not sure why Vanessa Redgrave is wearing a camouflage boiler suit and carrying a doll, but her performance is less stagey than her norm. Amongst the men, I was particularly impressed by Tom Canton as Richmond. Once you get over the fact he appears to be channelling Rising Damp’s Rigsby, Ralph Fiennes is a very good Richard, though he doesn’t reach the highs of my all-time favourites – Anthony Sher’s spider and Ian McKellen’s 20th century dictator.

Perhaps not a milestone Richard III, but definitely one to catch if you can.

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