LITERALISM AND ANTI-LITERALISM IN SHAKESPEARE’S KING RICHARD III AT

THE GLOBE THEATRE AND THE ROYAL SHAKESPEARE COMPANY

Nour Joseph
S4439368
Shakespeare at Stratford
Hans Jansen
June 24th 2024
Word Count: 3130
 Nour Joseph 1

Shakespeare’s second longest play ever written, King Richard III, remains one of his

most highly controversial plays to be performed, and understandably so. Throughout the

years, the question has always lied with whether or not the role of the Duke of Gloucester

should be played exclusively by physically disabled actors. As Shakespeare’s only disabled

protagonist, he represents the biggest opportunity for any disabled actor to finally be able to

have a main role, but also to possibly perform this character to his full extent, as the real

Richard was truly disabled. This is where the controversy lies, after the Globe Theatre

company’s 2024 production of King Richard III, directed by Elle While and made to be an

all-female cast, announced that Michelle Terry’s Richard would be stripped away of his

disability. Disabled actors as well as disability groups found that this decision “contravened

the Globe’s ethos of diversity and inclusion.”1 Not only so, but the backlash is amplified by

the existence of the Royal Shakespeare Company’s 2022 production of King Richard III,

directed by Gregory Doran, and whose Richard was performed by a disabled actor – Arthur

Hughes. Given that Hughes was the first ever disabled actor to play the role of Richard at the

Royal Shakespeare Company, this is viewed as taking many steps back instead of forward.

The critic Nick Curtis poses the question that needs to be answered, “whether Richard’s

disability is as intrinsic to his character as Othello’s blackness and Shylock’s Jewishness,”2

but he is also open to the possible usefulness of at least once removing “the notion that evil

and physical impairment go hand in hand in this play.”3 Therefore, comparing both the Globe

1
Nadia Khomami, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, The Guardian, May 21, 2024,
https://www.theguardian.com/stage/article/2024/may/21/the-level-of-hate-was-dangerous-mic
helle-terry-on-the-backlash-to-her-casting-as-richard-iii.
2
Nick Curtis, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, The Standard, May 22, 2024,
https://www.standard.co.uk/culture/theatre/richard-iii-globe-shakespeare-theatre-all-female-g
ender-fluid-review-b1159407.html.
3
Nick Curtis, review of King Richard III, The Standard, 2024.
 Nour Joseph 2

Theatre’s 2024 production and the Royal Shakespeare Company’s 2022 production will allow

for a broader understanding of King Richard III as a play itself, and will shed light on the

most effective way to perform it.

Known as one of Shakespeare’s most performed and recognized history plays,

Richard III is a gruesome story, and at its heart lies a more gruesome man still – Richard

himself. There might be no one familiar with this play who is not aware of his disability, and

how intrinsically attached to his character it is. As mentioned, the real Richard had a

disability of his own, scoliosis, and was already notorious within England’s history by the

time the play was written: “When the play opened in the 1590s, it was about events already

over a century past, and ‘our discontent’ refers to troubles of the York family.”4 However,

while Shakespeare himself used sources such as Edward Hall’s Union to draw from the real

history of The War of the Roses between the Lancasters and the Yorks, and of the different

parties at play, his depiction of Richard differs from others before him only in appearance –

he added a limp.5 The rest that is known about him through those narratives that came before

him share the same content and speak of the same tyrant, “whose crimes – real, imputed,

intended or imagined – included regicide, fratricide, infanticide, uxoricide, incest and

ecclesiastical corruption.”6 Consequently, there is much of Shakespeare’s Richard in these

historical depictions of the Duke of Gloucester. Moreover, while it is generally admitted that

many of the stories and rumors surrounding Richard’s reign and ascendance to the throne are

somewhat exaggerated by Shakespeare for the purpose of the play, many before him

associated the single disability he did have (scoliosis) with the evil actions he perpetuated,

4
William Shakespeare, Introduction to King Richard III, in The Arden Shakespeare,
ed. James R. Siemon (London: Bloomsbury, 2009), 3.
5
William Shakespeare, Introduction to King Richard III, 3.
6
William Shakespeare, Introduction to King Richard III, 3.
 Nour Joseph 3

and as such rendered him “hunchbacked, lame of arm, crabbed of feature and natally

toothed.”7 It is no surprise, then, for the character of Richard to be written the way he is.

In fact, as an evil protagonist, his intentions have always been made clear to the

readers from the very beginning of the play, the very first act and scene. More than that, it is

the only Shakespeare play which starts with a monologue from the protagonist, and as such, it

is important. Indeed, having Richard announce himself and not through other characters that

he is “Cheated of feature by dissembling Nature” (R 1.1.24)8 and “Deformed, unfinished” (R

1.1.24)9 directly connects his physical disability with the schemings he is planning. His

deformity is written as being the reason, the cause of his plots: “And therefore, since I cannot

prove a lover (...)/ I am determined to prove a villain.” (R 1.1.25)10 Many critics cannot help

but point this out about the Globe’s 2024 production, claiming “The loss of such

psychological motivation is inevitably felt,”11 and “In severing Richard from his physical

disability we lose a special bridge into his psyche.”12 Michelle Terry’s Richard, having no

disability at all, creates a gap between the character written by Shakespeare and the character

we see in front of us, resulting in an audience “more repulsed than interested in what drives

7
William Shakespeare, Introduction to King Richard III, 3.
8
William Shakespeare, King Richard III, in The Arden Shakespeare, ed. James R.
Siemon (London: Bloomsbury, 2009), 135.
9
Shakespeare, Richard III, 135.
10
Shakespeare, Richard III, 136.
11
Tom Birchenough, review of King Richard III, directed by Elle While,
Shakespeare’s Globe, London, 2024, The Arts Desk, May 23, 2024,
https://theartsdesk.com/theatre/richard-iii-shakespeares-globe-review-michelle-terry-riffs-pun
k-bravado.
12
Alexander Cohen, review of King Richard III, directed by Elle While,
Shakespeare’s Globe, London, 2024, Broadway World, May 22, 2024,
https://www.broadwayworld.com/westend/article/Review-RICHARD-III-The-Globe-202405
22.
 Nour Joseph 4

his scheming.”13 The Globe’s production is much more focused on anything other than this

aspect of the character, instead focusing on the tyranny and misogyny already present in the

play. As per Arifa Akbar, “Elle While’s direction turns it into a play about toxic masculinity

of the highest order.” This Richard “dons a macho torso suit, Calvin Klein underpants and a

bling, black-and-gold silk robe – as well as a racy, low-slung codpiece,”14 which results in a

very different tyrant than the ones audiences are used to.

However, it does not entail that the toxic masculinity and misogyny tackled in the

play was not already present within the text – quite the contrary. Once more we refer to

Richard’s monologue, where he expresses that “Grim-visaged War hath smoothed his

wrinkled front,” (R 1.1.3)15 and he can now caper “nimbly in a lady’s chamber/ To the

lascivious pleasing of a flute.” (R 1.1.3)16 The following line immediately contradicts his fate

to War’s, since he is “(...)not shaped for sportive tricks/ Nor made to court an amorous

looking-glass.” (1.1.24)17 Therefore, his disability unables him to be a lover because he is

repulsive, but it also motivates him to be a villain out of spite and boredom. Elle While’s

direction chose to strip him of said disability in order to draw the attention to what is

underneath it all, and Michelle Terry herself defends this vision during an interview, claiming

“her production questioned Shakespeare’s exaggeration of the early modern belief that

disability was an outward expression of inner evil, instead exploring Richard for what he was
13
Isaac Ouro-Gnao, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, London Theatre, May 22, 2024,
https://www.londontheatre.co.uk/reviews/richard-iii-review-shakespeares-globe.
14
Patrick Marmion, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, Daily Mail, May 24, 2024,
https://www.dailymail.co.uk/tvshowbiz/article-13454243/Richard-III-review-Playing-Richard
-III-Donald-Trump-crass-punk-rock-history-writes-PATRICK-MARMION.html.
15
Shakespeare, King Richard III, 134.
16
Shakespeare, King Richard III, 134.
17
Shakespeare, King Richard III, 135.
 Nour Joseph 5

– a murderer and a sexual predator.”18 Joining Nick Curtis’ interest in separating the evil to

the disability, it is possible to consider the appeal of erasing said disability in order to focus

on these other aspects and major themes of the play. Nonetheless, critics agree that “a

production has to be good enough to make it worthwhile,”19 and it seems most conclude that

While’s production was not executed properly.

Indeed, we can wonder why While deemed it necessary to cut out the disability in

order to solely focus on other thematics of the play and question the long-gone belief that

disability and evil are always connected. While Shakespeare’s lines are now written in stone

and what he aimed to express through those lines cannot be altered, it is a director’s job to

work with them and aim to juggle between all aspects and themes of the play. Simply erasing

disability from this play does not enforce any form of ‘anti-ableism’; once again, a

production needs to be well executed. As such, critics argue that the Globe’s production was

“unable to examine the ways in which masculinity, disability and misogyny interact with one

another.”20 Had the Globe tackled the toxic masculinity and misogyny so easily

overshadowed by the disability alongside the tragic aspect of the play, it would have been a

production never seen before, as the idea of focusing on the underlying traits Richard holds is

worthwhile. Unfortunately, and despite the shared belief that a critic should be focusing on

what is actually happening on stage instead of what is not, “when we concern ourselves with

18
Nadia Khomami, review of King Richard III, The Guardian, 2024.
19
Anya Ryan, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, Time Out, May 22, 2024,
https://www.timeout.com/london/theatre/richard-iii-34-review.

Alex Wood, review of King Richard III, directed by Elle While, Shakespeare’s
20

Globe, London, 2024, Whats On Stage, May 22, 2024,

https://www.whatsonstage.com/news/richard-iii-at-shakespeares-globe-review_1602304/.
 Nour Joseph 6

a casting decision which may or may not have been the most responsible, then the temptation

to consider what could and perhaps should have been becomes more potent and justifiable.”21

In parallel, examining Gregory Doran’s production offers an insight into a completely

different portrayal of the character of Richard, as well as a different tone for the entire play.

Doran, two years prior to While, went the complete opposite direction with the casting and

assigned Richard’s role to Arthur Hughes, who has a disability resembling Richard’s

‘withered arm.’ With no surprise, some critics enforce the “added complexity and credibility

to know that the actor himself had dealt throughout his own life with the challenges and

triumphs”22 of having a disability. In fact, Doran’s production emphasizes the disability very

much and so since the first scene of the first act of the play. Hughes, while speaking for the

first time, recites the famous opening monologue and eventually uses his disabled arm to hold

onto a lingering pink balloon on the floor, slowly adding more and more pressure until it

suddenly pops (2:45)23: not only does this draw attention to his withered arm, but it also

offers uncomfortable auditory effects and effectively establishes the tone of his villainy. It

sets into motion the theme of disability, its connection to the tragic theme which will ensue of

the plots he mentions, and the tone of the entire play, as the original text intended his

disability to be the cause of his villainy.

However, placing a real disability on stage might not have the desired effect; evil and

disability are not regarded as hand in hand anymore, which questions not only While’s

21
Liam O’Dell, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, Liam O’Dell, May 25, 2024,
https://liamodell.com/2024/05/25/richard-iii-review-shakespeares-globe-theatre-michelle-terr
y-disability-disabled/.
22
Diane Lowman, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, The Shakespeare Newsletter,
https://shakespearenewsletter.com/review-of-rscs-richard-iii/.
23
William Shakespeare, King Richard III, directed by Gregory Doran (2022;
Stratford-upon-Avon, 2022), Web.
 Nour Joseph 7

defense of erasing it but also Doran’s decision to implement it on stage. Regardless of

intentions, Peter Viney argues of the merits of Doran’s choice, explaining that the females of

the play “are supposed to be revolted not only by Richard’s deeds, but also by his physical

deformities.”24 Arthur Hughes worked with the entire female cast for an extended period of

time, and whether or not the actors realize it, it will ultimately affect the way they should

tackle their hatred towards Richard’s actions and his physical disability. Without meaning to,

and because they are not actually revolted by his arm, “they held back reaction, in a way they

would not have done with an actor with a prosthetic deformity.”25 Doran’s choice of casting

an actor with a real disability ends up taking away from the hatred the women on stage are

supposed to be exhibiting, and Viney concludes by saying “That’s the problem with making it

real.”26

Consequently, the discussion point behind literalism and anti-literalism is brought

forth. Contrary to what audiences might believe, Doran himself assures that he did not cast

Arthur Hughes “because he’s a disabled actor,”27 but because “he’s a terrific actor.”28 If the

disability is not as important to him for the role of Richard, then it is important to ask if Elle

While’s choice to erase it impacts the play as much as critics argue it does, or if the execution

is behind such backlash. Doran’s Richard, while truly disabled, does not necessarily rely on

his disability to portray his cunning and manipulation. During his confrontation with Lady

Anne, it is not his disability which ultimately convinces her to become his wife, but rather the

clever way in which he argues that it is her beauty which forced him to kill his husband.

Peter Viney, “Richard III — RSC 2022,” Peter Viney’s Blog,

24

https://peterviney.com/stage/richard-iii-rsc-2022/.
25
Peter Viney, “Richard III — RSC 2022,” Peter Viney’s Blog.
26
Peter Viney, “Richard III — RSC 2022,” Peter Viney’s Blog.
27
Peter Viney, “Richard III — RSC 2022,” Peter Viney’s Blog.
28
Peter Viney, “Richard III — RSC 2022,” Peter Viney’s Blog.
 Nour Joseph 8

When she hesitates to kill kim, twice, it is because of his flattery (17:58).29 Had his disability

played a role within her decision, Arthur Hughes would have put much more emphasis on his

withered hand and used it as a way to make her pity him. Instead, his hand is used to open up

his shirt, and with Rosie Sheehy’s (Lady Anne) positioning, she is not even aware or focusing

on it since she is not able to focus on anything else but his eyes.

Furthermore, Hughes is the first disabled actor to portray this role at the Royal

Shakespeare Company, but it does not erase all of the other performances that came before

and whose actors had to rely on prosthetic limbs or humps, or other symbolic meanings, in

order to portray the character of Richard. Richard Eyre’s 1990 production starring Ian

McKellen, and Sam Mendes’ 2011 production starring Kevin Spacey, are still very much on

the lips of audiences who’ve watched these performances. Both portrayals of disability were

minimal, the former psychological and the latter a simple prosthetic barely at the forefront of

Richard’s motivations. Their lack of actual disability did nothing to damper the two

productions' success, and their portrayal of Richard, as they were supported by the

production’s intent and how it was executed.

In fact, Doran’s production does put emphasis on Hughes’ withered hand as a way to

justify the motivations behind all of Richard's scheming, but also on his psyche. When Lady

Anne is at once wooed, he marvels at his cunning, and when he realizes that despite her

hatred she would be willing to ‘abase her eyes’ on him, he takes a good look at his help-up

arm, and says he will now search for a looking-glass (21:58).30 He talks of adornments for his

body, because he realizes at this point of the play that his disability does nothing to convince

others if it were not for his rhetoric and argumentation, as it just did with Lady Anne, which

29
King Richard III, directed by Gregory Doran, 2022.
30
King Richard III, directed by Gregory Doran, 2022.
 Nour Joseph 9

is why he exclaims with disbelief ‘On me, who halts and am unshapen thus?’ (21:39)31 so

loudly. If we consider the scenario in which Hughes’ hand was in fact a prosthetic, it would

not have been impossible to direct and perform this scene the exact same way, and as such

gives truth to Doran’s claim that he cast Hughes for his acting and not his disability. It renders

the disability only a bonus in terms of visually captivating the audience.

Additionally, literalism in Shakespeare has only recently been executed and pressured

to be, but it is not the only medium through which it is possible to explore the play, or any

Shakespeare play. As much as Hughes’ very real disability aids the authenticity of the

performance, it does nothing to salvage the few ways in which this production fails to

captivate its audience. The first half of the play lasts for almost two hours, the interval taking

place at 1:47:46, taking the play all the way until act 4 scene 2.32 As the second longest play

ever written by Shakespeare, and given the tragic nature of it, it is overextended and does

nothing for the audience’s attention. Moreover, despite Hughes’ performance and its

authenticity, the persona he gives to Richard, alongside the snarky remarks and comically

sarcastic truths, take away from the image of the tyrant people know him as, and the tyrant he

is meant to portray throughout the play. As he chooses to dispatch Buckingham, he calls onto

the boy on stage who speaks of Tyrell, the assassin, then Richard says ‘Go, call him hither,

boy,’ (1:51:32)33 using his hand to slightly urge the child in a dismissive way. Critics argue

this affects the villainy needed to take him seriously, as “He does not always seem vicious

enough, even when he is giving orders to kill former allies.”34 Therefore, while his disability

31
King Richard III, directed by Gregory Doran, 2022.
32
King Richard III, directed by Gregory Doran, 2022.
33
King Richard III, directed by Gregory Doran, 2022.
34
Arifa Akbar, review of King Richard III, directed by Gregory Doran, Royal
Shakespeare Company, Stratford-upon-Avon, 2022, The Guardian, July 1, 2022,
https://www.theguardian.com/stage/2022/jul/01/richard-iii-review-rsc-stratford-arthur-hughes
 Nour Joseph 10

is authentic, it does not hide the lack of viciousness in the portrayal of this character, despite

his cruelty being very much present within the original text.

Finally, whether a director chooses to tackle Shakespeare literally, or not, the outcome

depends only upon a unified production. For King Richard III, the disability is in fact intrinsic

to his character based solely upon the original text, but also on most critics’ consensus.

However, its authenticity is not always a miracle solution to how well this play can be

performed, because in the end the production matters more. Elle While’s production aims to

portray Richard’s tyranny exclusively, and as separated from his disability, in order to better

focus on the toxic masculinity. Despite While’s will to make a statement, Michelle Terry’s

take on the character does not serve the purpose of the play. She is described as performing a

“technicolor caricature”35 of Richard, using a “brood, crowd-pleasing hamminess”36 and

therefore, “This constant reliance on comedy creates an unfortunate distance between

character and audience.”37 Coupled with the erasure of disability and therefore the erasure of

an insight into Richard’s motivations and psyche, we are faced with an unrecognizable

Richard, despite the attempts to truly expose who he was beneath it all. Gregory Doran’s

production, in parallel, aimed to maintain and uphold the image we already know of Richard,

as well as the atmosphere of the play itself when reading it. The stage of his production is

colored by a deep red color reminding the audience of the bloodshed about to become, but

also of the ultimate Lancaster victory at the end of the play (0:05).38 It is maintained

throughout most of the play, and therefore maintains the mood and tone of the performance as
35
Claire Allfree, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, The Telegraph, May 22, 2024,
https://www.telegraph.co.uk/theatre/what-to-see/richard-iii-shakespeares-globe-review-miche
lle-terry/.
36
Claire Allfree, review of King Richard III, The Telegraph, 2024.
37
Isaac Ouro-Gnao, review of King Richard III, London Theatre, 2024.
38
King Richard III, directed by Gregory Doran, 2022.
 Nour Joseph 11

a tragic one, nonetheless this atmosphere is somewhat tarnished by the sudden incorporation

of a camera on set projecting on the wall the speeches before battle (2:43:44).39 The entirety

of the play has been directed quite traditionally and well set in the 15th century, and so this

device takes away from the tone established and the seriousness right before battle, and the

epic ending of this consequent play. The presence of a real disability on stage, therefore,

matters less than the portrayal of the character or the overall execution of the play.

In the end, the only way to answer the question posed at the beginning of this essay is

to realize there are two sides to it. Whether the role of Richard can only be authentically

performed by a disabled actor or not depends solely upon the director’s decisions and

therefore the execution of the performance, as Richard has many times been performed

convincingly and as true to the text as possible, by able-bodied actors. However, critic

Richard Maguire poses the other side of the question, “when will we have a disabled actor

playing Richard III at the Globe?”40 The Royal Shakespeare company has offered this

important role, for the first time, to a disabled actor. The question lies not in the authenticity

of the character, but rather it lies with the lack of opportunities given to such actors. There is

no doubt any talented actor is able to perform, prosthetic limbs or not, the character of

Richard, and be able to draw the essence of it. The controversy surrounding the Globe needs

to be addressed as this is not a matter of Shakespearian literalism, but rather of Shakespearian

opportunity.

39
King Richard III, directed by Gregory Doran, 2022.
40
Richard Maguire, review of King Richard III, directed by Elle While, Shakespeare’s
Globe, London, 2024, The Reviews Hub, May 22, 2024,
https://www.thereviewshub.com/24-richard-iii-shakespeares-globe-london-2/.
 Nour Joseph 12

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