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Crookback: Shakespeare’s ‘Richard III’ Rebooted
Crookback
SHAKESPEARE’S ‘RICHARD III’ REBOOTED
Writing to please his patron, Elizabeth I, and relying on sources which supported the Tudor portrayal of Richard III as a usurper of the throne and tyrannical mass murderer, Shakespeare crafted one of the most monstrous villains of literature – a fictional character that came to supplant the Richard of history.
But how different might be Shakespeare’s ‘Tragedy of Richard III’ were he writing it today, free from political constraints and with access to all the historical information we now have available? That is the question ‘Crookback’ sets out to answer, and, in doing so, this rewriting of the original play offers audiences a more complex protagonist, neither saint nor devil, whose actions are a reaction to the turbulent times in which he lives.
As in ‘Game of Thrones’ (inspired by that era’s ‘Wars of the Roses’), there are multiple individuals scheming to seize the crown, and when Edward IV dies, Richard, the younger brother who overcame the physical handicap of scoliosis to excel on the field of battle, and who had been steadfastly loyal to Edward, does what he calculates is necessary to prevent his enemies taking power and ensure his own survival. Events soon race beyond Richard’s control, however, and toward a date with destiny on the battlefield at Bosworth.
* * * * * * * *
CHRISTOPHER M WALKER
Born in Sheffield, England, the author graduated from the University College of York St. John with an Honours Degree in Drama, Film & Television. He has taught drama for over 25 years, as a Head of Drama in Grantham, and Head of Drama & English at The Sheffield College. He is a member of the Richard III Society.
SHAKESPEARE’S ‘RICHARD III’ REBOOTED
Writing to please his patron, Elizabeth I, and relying on sources which supported the Tudor portrayal of Richard III as a usurper of the throne and tyrannical mass murderer, Shakespeare crafted one of the most monstrous villains of literature – a fictional character that came to supplant the Richard of history.
But how different might be Shakespeare’s ‘Tragedy of Richard III’ were he writing it today, free from political constraints and with access to all the historical information we now have available? That is the question ‘Crookback’ sets out to answer, and, in doing so, this rewriting of the original play offers audiences a more complex protagonist, neither saint nor devil, whose actions are a reaction to the turbulent times in which he lives.
As in ‘Game of Thrones’ (inspired by that era’s ‘Wars of the Roses’), there are multiple individuals scheming to seize the crown, and when Edward IV dies, Richard, the younger brother who overcame the physical handicap of scoliosis to excel on the field of battle, and who had been steadfastly loyal to Edward, does what he calculates is necessary to prevent his enemies taking power and ensure his own survival. Events soon race beyond Richard’s control, however, and toward a date with destiny on the battlefield at Bosworth.
* * * * * * * *
CHRISTOPHER M WALKER
Born in Sheffield, England, the author graduated from the University College of York St. John with an Honours Degree in Drama, Film & Television. He has taught drama for over 25 years, as a Head of Drama in Grantham, and Head of Drama & English at The Sheffield College. He is a member of the Richard III Society.
138 pages, Paperback
Published November 4, 2022
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Displaying 1 of 1 review
May 10, 2023
Crookback: Shakespeare’s Richard III Rebooted
By Christopher M. Walker
Reviewed January 31, 2023
Crookback is Shakespeare's play as the author thinks it might have been written if the Bard were around today. Editing, even adding additional dialogue, is nothing new when it comes to producing Shakespeare’s plays. Olivier, Garrick, Cibber, and probably even going back to the bard himself, someone has almost always tweaked the play for any number of reasons, from giving the star better lines to accommodating restrictions caused by the size of the performing company.
In the case of Crookback, Christopher Walker has simplified some of the language to make it more understandable to today's audience, trimmed it to a more manageable running time by removing extraneous and unnecessary characters and repetitive dialogue, along with portraying Richard more realistically and not some archetypal villain.
At the same time, this ‘reboot’ as the author calls it “does not seek to correct every single historical inaccuracy in the original play” as a playwright needs to be allowed dramatic license, and this is still a work of fiction. He does, however, seek to amend the most glaring historical inaccuracies and false charges that have been made against Richard, in the hopes of producing a more balanced and nuanced portrayal.
In his reflections on Richard, Walker sees a man who may have been spurred to prove his worth over and over, who because of his scoliosis might have been self-conscious about his appearance, perhaps believing himself, rightly or wrongly, the butt end of cruel jokes behind his back.
But such amorous sports are to me denied.
Pretty girls swoon not upon my approach,
For I have an abnormality of frame,
And they snigger ‘Crookback’ as I pass.
On the other hand, Walker shows Richard meeting his end courageously on the battlefield. When he is unhorsed, his lines are modified to do away with the confusion that has caused some to think him a coward.
A horse! A horse! For my kingdom’s sake, a horse!
And while Richard lies dead and Tudor claims the crown, we are shown the beginnings of the propaganda campaign to blacken the late king’s name.
As for Richard, go strip his bleeding corpse,
And hang it o’er a horse for all to view.
Then see you hasten him to final rest
In grave unmarked, so none may pay respect.
Proclaim my reign from before this battle,
So that those who fought this day against us,
Bearing arms for he that was their king,
Condemned to die as traitors will they be,
Their lands all forfeit to my royal pleasure.
So what we have here is Shakespeare’s Richard, but one that is more accessible to the general public and not quite so villainous. Crookback is being performed by the Midland Players, an amateur theatrical company in Sheffield, this coming February but since I am unable to make it across the ocean to attend, reading the play is the next best thing for me.
By Christopher M. Walker
Reviewed January 31, 2023
Crookback is Shakespeare's play as the author thinks it might have been written if the Bard were around today. Editing, even adding additional dialogue, is nothing new when it comes to producing Shakespeare’s plays. Olivier, Garrick, Cibber, and probably even going back to the bard himself, someone has almost always tweaked the play for any number of reasons, from giving the star better lines to accommodating restrictions caused by the size of the performing company.
In the case of Crookback, Christopher Walker has simplified some of the language to make it more understandable to today's audience, trimmed it to a more manageable running time by removing extraneous and unnecessary characters and repetitive dialogue, along with portraying Richard more realistically and not some archetypal villain.
At the same time, this ‘reboot’ as the author calls it “does not seek to correct every single historical inaccuracy in the original play” as a playwright needs to be allowed dramatic license, and this is still a work of fiction. He does, however, seek to amend the most glaring historical inaccuracies and false charges that have been made against Richard, in the hopes of producing a more balanced and nuanced portrayal.
In his reflections on Richard, Walker sees a man who may have been spurred to prove his worth over and over, who because of his scoliosis might have been self-conscious about his appearance, perhaps believing himself, rightly or wrongly, the butt end of cruel jokes behind his back.
But such amorous sports are to me denied.
Pretty girls swoon not upon my approach,
For I have an abnormality of frame,
And they snigger ‘Crookback’ as I pass.
On the other hand, Walker shows Richard meeting his end courageously on the battlefield. When he is unhorsed, his lines are modified to do away with the confusion that has caused some to think him a coward.
A horse! A horse! For my kingdom’s sake, a horse!
And while Richard lies dead and Tudor claims the crown, we are shown the beginnings of the propaganda campaign to blacken the late king’s name.
As for Richard, go strip his bleeding corpse,
And hang it o’er a horse for all to view.
Then see you hasten him to final rest
In grave unmarked, so none may pay respect.
Proclaim my reign from before this battle,
So that those who fought this day against us,
Bearing arms for he that was their king,
Condemned to die as traitors will they be,
Their lands all forfeit to my royal pleasure.
So what we have here is Shakespeare’s Richard, but one that is more accessible to the general public and not quite so villainous. Crookback is being performed by the Midland Players, an amateur theatrical company in Sheffield, this coming February but since I am unable to make it across the ocean to attend, reading the play is the next best thing for me.
Displaying 1 of 1 review