EVERY YEAR, THEATER ENTHUSIASTS from all over the world make pilgrimages to the Ashland Shakespeare Festival in Oregon to view their exemplary productions. Here in the Bay Area, we are very fortunate to be proximal to the well-esteemed Marin Shakespeare Company in San Rafael, whose innovative productions of the past 26 years have received numerous accolades.

This season proves no different. Its recent production of “Don Quixote,” which featured Berkeley Rep and former Cirque Du Soleil performer Ron Campbell, received “top picks” status in Theatre Bay Area and a rave review from the San Francisco Chronicle and critics alike. Its musically infused production of the Bard’s romantic comedy “Cymbeline” featured some of the finest professional actors in the Bay Area. Now Marin Shakespeare rounds out its season with “Richard III,” the history play believed to have launched Shakespeare’s reputation as a playwright because of his dynamic characterization of the hated Richard as a physically deformed mastermind of plot and ploy so capable of being evil and charming at the same time.

The bones of the real Richard III, Duke of Gloucester, were discovered recently in 2012, under a parking lot in Leicester, England, and then given a proper burial in Leicester Cathedral this past March. Thus it seems a fitting time to present Shakespeare’s story of his most popular villain. In light of current international events, Marin Shakespeare brings poignant relevance to the Bard’s text for the modern audience. If anyone believes that Shakespeare is boring and stuffy, this production proves them wrong. The actors and design team, under the direction of nationally renowned director Robert Currier, execute an enthralling production.

I could elaborate on the background and plot of the story, but there are infinite resources offline and online to indulge in the great history of the War of the Roses, the Plantagenets, the Lancasters, Tudors and Yorks. Instead, I will use this space to credit the talents who have been able to dramatically detail the story with their seasoned skills, enabling contemporary audiences to readily follow the play.

The technical aspects of the costumes, set, sound, and lighting weave modern and classical details together, invoking images of humanity’s past and present-day issues of conflict, war, power, corruption and resolution. Set designer Jackson Currier’s tiered set features three inclined ramps, allowing entrances and exits from scene to scene to flow smoothly. The action moves seamlessly, keeping the audience captivated. Abra Berman’s costume design links past to present: the royalty are adorned in elegant dress and their alliances are donned in business suits and camouflage military wear, alluding to how politics, dealings, bargains and relationships still shape our current state of affairs — just as they did during the War of the Roses.

Sound designer and composer Clint Bajakian, who incidentally composes music for video games, sets the preshow mood with a “The Lord of the Rings” cinematic feel. His sound design captures the dramatic feel of the battle scene. To quote a 9-year-old audience member, the ghost scene “was very cool” as the actors moved ethereally in white veils with stage fog and the ghostly voices, echoing the famous text — “despair and die” — around the ill-fated Richard and blessing the destined victory of Richmond. The lighting design of Ellen Brooks further heightens dramatic moments of the play.

As Bay Area actors aspire to work with the Marin Shakespeare Company, the company is lucky to draw from the best of the Bay. Aidan O’Reilly, trained at the Royal Academy of Dramatic Arts in London, delivers a commanding performance in the title role, managing to woo and swoon the audience as he delivers each word with vibrancy and emotion. As the charismatic villain discloses to the audience his plots about to unfold, O’Reilly physically characterizes Richard’s famed scoliotic posture. But he doesn’t fall to victim to his state of deformity, boldly moving and gesturing to characterize Richard’s resolute determination and ambition to the throne despite his awkward posture. O’Reilly engages the audience thoroughly in the role, a hard feat for any actor.

He is well complemented by a dedicated ensemble of actors who give weight to each role. Elena Wright (Queen Elizabeth) is an emotionally strong actress who delivers her lines with refined elocution. She has the ability to connect with women of modern times. As her character laments the loss of her husband and her sons, Wright’s conviction is grounded without going overboard emotionally. Likewise, Phoebe Moyer as Queen Margaret gives a performance of vocal and smooth emotional delivery.

The minor role of Catesby, performed by Davern Wright, appears as a secret agent. Wright’s deep masculine voice and portrayal of the potential catalyst in Richard’s ploys both delights and intrigues the audience. Mike Schaeffer, a graduate of one of the best American acting programs, Carnegie Mellon University, doubles as King Edward and Tyrell, the infamous murderer of the two young princes in the Tower. Schaeffer portrays Edward as a remorseful and loving brother and dying king. Conversely, as the murderer Tyrell, he triumphs in his evil doings and seems to be channeling the war criminals of past and present as his voice eerily and intentionally moves the audience to disturbance.

Jackson Currier manages to double as the entitled Grey, brother to Queen Elizabeth, and in contrast also portrays the noble and ambitious Richmond, who must fight to earn his title. Nick Sholley gives a sincere performance as the doomed yet thoughtful Clarence. Sholley also possesses the fine craft of elocution in his character’s famous dream speech.

Other performers who stand worthy of applause are Stephen Price as Hastings and Michael Ray Wisely as Buckingham, whose characters aide Richard with selfish goals but eventually end up victims of Richard’s endless thirst for power. Both actors convey the confidence in their characters’ political endeavors and then humbly portray their laments at their downfall. Livia Demarchi impressively portrays Anne, a widow whose anger is subdued by the whims of Richard.

Numerous other actors lend colorful depictions to smaller roles. As Shakespeare aficionados know, the smaller roles are important roles as well, often delivering lines that signal the change of course of the play’s action.

The two youngest cast members play the two young princes as precious, yet precocious. Sixth grader Carl Robinett, as the older brother Prince Edward, makes an intelligent choice as an actor to doubt his uncle Richard’s outward benevolence. Patrick Ewart, as the younger Duke of York, comforts his mother, Queen Elizabeth, then audaciously teases his uncle with sharp witticisms. On a proud local note, Ewart studies dance locally in Benicia. One can detect his dance training by his stage movements.

Don’t think of this history play as all doom and gloom. Shakespeare’s tragic and historical plays always have potential to entertain and to be riveting, and Marin Shakespeare Company succeeds in doing both.

Attending the outdoor Forest Meadow Amphitheatre by Dominican University in San Rafael can be a wonderful experience. Mount Tamalpais looms over the parking lot, filling the skyline. Tall trees pleasantly outline the amphitheatre. One can stroll on the nearby scenic campus before the show, and audiences can buy food, wine or beverages from the theater concession stand or bring their own wine, drink or food. Bring blankets and cushions for extra comfort, or you can rent seat cushions for a dollar. If you want to experience a theater production that will move you, by all means treat yourself to a fine afternoon or evening performance of “Richard III.”

There will be a family matinee on Sunday in which kids’ activities start at 3 p.m. before the 4 p.m. showtime; kids 18 and under get free admission. A senior matinee occurs on Sunday, Sept. 20 at 4 p.m., in which admission for seniors is $16. If you enjoy moonlight, there will be a performance coinciding with a full moon on Saturday, Sept. 26 at 8 p.m. Student matinees will be held Fridays, Sept. 11, 17, and 25 at 11 a.m.; Friday, Saturday and Sunday evening performances will be at 8 p.m., and Sunday matinees will be at 4 p.m. till Sept. 27.

If You Go
Ticket for “Richard III” are $35 for adults, $32 for seniors, and $10 for those 25 and under. Performances are at Forest Meadow Amphitheatre, Dominican University of California, 890 Belle Ave., San Rafael. Leran more or buy tickets at marinshakespeare.org/tickets/ or 415-499-4488.

Maria Vrabel has a bachelor’s degree in dramatic arts from Mills College. She has studied theater with the Marymount London Drama Program and the National Shakespeare Conservatory in New York, and written theater reviews for the online publication, Listen and Be Heard.