Henry VI Part Three

Abstract

[Patton] managed to distinguish clearly among the groups and factions by emphatic use of costumes and properties (red and white roses, differing colors and cloaks, appropriate banners) and clear blocking of the opposing sides in the big confrontation scenes… As played subtly and skillfully by Larry Ballard, this Henry VI was an unworldly figure who could be stirred to strong emotions… As Richard of York, Joseph DeSalvio was an impressive, forceful figure in victory and a pathetic yet striking victim in death. As Queen Margaret, Mimi Carr dominated the stage physically and rhetorically in several key scenes … Judd Parkin played Clifford with great energy as a maniacal force of hatred and revenge. Richard Farrell … found depth in a passionate, vacillating Clarence. William Moreings Edward IV was polished, lusty, and politically shallow. As figure after figure was swept aside, more room was left: for the daemonic energy of Michael Santo’s aggressive yet controlled Richard of Gloucester, played with a slight limp, a black glove, and a piercing voice… The numerous fight scenes… were superbly staged… and exhibited the never-ending cycle of violence and brutality … After Edward’s closing reference to “lasting joy” (delivered by Moreing with slight but distinct overemphasis to heighten its hollowness), all the principals exited except Richard, who walked slowly to the empty throne, contemplated it for a moment (thereby recalling his speech of the previous scene on his plans for the future), and then casually dropped Henry’s rosary upon it. (Alan C. Dessen, Shakespeare Quarterly 29 [1978]: 283–85)