Dramatic reflections

Shakespeare had a thing about mirrors - or at least, his kings did: Richard II in his abdication speech pleads for a mirror 'so I can see the very book indeed/ where all my sins are writ' and symbolically smashes it as he abdicates to Henry. Richard III, brooding on his deformity, takes the obsession further, and the new production at Bristol Old Vic superbly uses the nightmare potential of literal self-reflection to create a set where every assault, every collusion, every betrayal, is visually echoed from subtly different angles. The effect is haunting. The set's archways never change, as if the entire story is all in Richard's fevered mind: sometimes the glass mysteriously clears and ghosts from his murderous past watch the ambitious king writhe. It's mostly very dark, but occasionally beautiful, as when the petals cascade down to symbolise the ending of the red and white rose rivalry.

 In a stella cast Tom Mothersdale is supernova as Richard, his deformity and his charisma both emphasised in his unforgettable performance. The design team - Chiara Stephenson, with Elliot Griggs lighting & George Dennis sound - all deserve credit too. Directed by John Haidar, this is a collaboration with Headlong and part of BOV's vision of renewed vibrance and engagement with the city and community. If you like your Shakespearian history plays true to the bard's intention but you relish classic gothic horror and a bit of black humour, this is definitely one for you - it's timely too: 'England hath long been mad and scarr'd herself.. in blind division,' laments Richmond, surveying the debris as he takes up the baton and promises 'fair ordinance' - we could do with some of that right now.  In Bristol till 13 April, recommended.

This is an interim post for southwest arts followers - the next will be an off-piste bulletin from Brussels!