Millennial Notes

Naomi Iizuka Chronicles Richard’s Fall for Our Time

by Isa S. Chu

Hip-hop and club music play in the house speakers, the first sign that this will not be your traditional Shakespeare. Then, the program reveals a female playwright, female director, and a mostly female cast. I could see myself on stage or working behind the scenes.

Five out of seven cast members are women–often playing kings and dukes. It took me a while to feel the rhythm and cadence of the poetry, even in Naomi Iizuka’s modern “translation.” Each time a “she” plays a “he,” it feels like a subtle nod to Rosie the Riveter.

The emphasis on women is refreshing and empowering. We see women in leadership, making tough decisions, and fighting for their families. We also see women who are flawed, vulnerable, jealous, and rash—real, multifaceted individuals.

As old John of Gaunt, Catherine Castellanos catches our attention with her clear, authoritative voice, claiming space and power onstage. She embodies each of her characters with presence and physical trademarks.

As King Richard, a fatally flawed ruler, Jeunée Simon hovers over the action, royal and remote, hinting subtly at the King’s suffering. As King Richard bids a tearful farewell to his Queen (Kina Kantor), the Queen carries the emotional weight of the scene.

This “Richard II” opens with a jarring shouting match–a rough start. In the opening scene, Thomas Mowbray (Ogie Zulueta) removes his shirt before dueling with Henry Bolingbroke (Juan Amador). Director Katrina Guitierrez emphasizes the absurd anger between two alpha males.

Scenic Designer Tanya Orellana and Costume Designer Kyo Yohena amplify the female power pulsing through the production. Their designs create a world that reflects the strength and nuance of the women who bring this play to life.

Orellana’s beautiful cascade of white steps spill downstage from back to front, creating depth and movement. Actors move a few modular set pieces to create scenes at the King’s court. The staircase to infinity doubles as a projection screen for Joan Osato’s video designs that flash starry skies, the King’s tortured mind, and the afterlife.

Mirroring the clean stage design, costume designer Yohena simply uses a prop or article of clothing to signal a character. Color schemes cleverly mark characters’ loyalties. Since actors play multiple roles, each one morphs quickly with a change of a cloak or hat.

“Richard II” offers a new Shakespearean experience that asks the audience to put in as much effort as the actors. Director Karina Gutiérrez challenges long-held norms and expectations. She reminds us that women can fill these roles, onstage and in our government, embracing the full spectrum of humanity.

 

“Richard II” by William Shakespeare, in a modern verse translation by Naomi Iizuka, directed & adapted by Dr. Karina Gutiérrez, scenic design by Tanya Orellana, lighting design by Alejandro Acosta, video design by Joan Osato, at Magic Theatre, Fort Mason, San Francisco. Info: magictheatre.org – to September 8, 2024.

Cast: Juan Amador, Catherine Castellanos, Nora El Samahy, Kina Kantor, Jeunée Simon, Mia Tagano, and Ogie Zuleta.

Banner photo: Ogie Zulueta, Nora El Samahy, Kina Kantor, Jeunée Simon, Mia Tagano, Catherine Castellanos, Juan Amador. Photos: Jay Yamada