DIRECTOR Joseph D’angelo’s modern re-imagining shakes a dirty hand with the world of current politics in a disconcertingly timely production. Red and white rosettes mirror the recent general election in the perfect setting of the York Guildhall Council Chambers. We are urged to consider the drama as a universal message unburdened by its original context.

The deformed, tyrannical Richard (played by Sam Hill) is here a young, ambitious political leader and bullish toff, posing sycophantically for the press and leaning imposingly on people and set, propelling himself around the space and taking the world for his own. Indeed, Hill owns the stage, bringing disturbing charm, eloquence and understanding to the text.

The playful, dry energy of the conspiracy between Richard and Buckingham (Loussin-Torah Pilikian) sets the tone for the 20-strong cast conveying narcissistic, scoffing upper classes reminiscent of House Of Cards. Each character has their own agenda and there is a general lack of reaction and compassion throughout the cast. The downside of this is that we don’t quite feel the weight of the racking deaths, or of what is still at stake.

A powerful meeting of Margaret (Jess Alterman), Queen Elizabeth (Anna Mawn) and the Duchess of York (Em Barrett) somewhat alleviates this. Some of Shakespeare’s greatest poetry is here elucidated by three fierce, commanding women.

There are some unearned pauses and awkward shuffles in the confined space, but pre-filmed sequences and convincing physical struggles round off a thoughtful, impressive production that also ran at the University of York Drama Barn.