THE message here is quite clear. Just beware who you make enemies of.

Richard’s unwelcome interference and decision to banish two noblemen for trading accusations of treason is met not just with anger and animosity, but also thoughts, by one, of revenge.

At times David Tennant’s Richard II seems a likeable, almost sympathetic figure, although apart from all others and aloof in the belief his role was created on high. But he then proceeds to dismantle the belief with callous scheming before eventually garnering some late sympathy.

He even restores some semblance of royal behaviour in a moving speech that eventually leads to his abdication.

Tennant, a former Time Lord, dishes up a Richard who also is not always of this world. He is all flowing robes and cascading locks which provide visions of a biblical epic. Not quite Jesus Christ Superstar but the thought does linger.

There’s a flavour of exaggerated luvvieness and effeminate mannerisms at times, as well as some delightfully excessive facial expressions. Flair and style, and all met with great enjoyment, and all the better with such confident delivery and clear diction.

In the extremely safe hands of director Gregory Doran this traditional production provides quite a spectacle as it recovers from a sluggish start to rattle on at a good steady pace. It also offers an interesting new twist or two to the proceedings.

The set is magnificently cathedral-esque via projected images as it opens with the Duke of Gloucester’s widow (Jane Lapotaire) grieving at his coffin as it lies in state. His murder and the mistrust it has stirred is the beginning of the end for Richard, especially after the rash move to send Henry Bolingbrooke (Nigel Lindsay) overseas.

Henry IV, as he becomes, is not going to take it lying down and vows to return purely for his rightful inheritance and not to initiate a rebellion. However, events accelerate a change of mood and heart and Richard is faced with losing the throne.

Although minimal in props there is still something special about the simple set through the grandness created by such a vast open space which allows a large balcony to descend and recreate the aura of a Royal court. This flavour and feel is enhanced by shrill fanfares and a trio of heavenly voices - not the Three Sopranos, but the delightful Charlotte Ashley, Anna Bolton and Helena Raeburn.

Oliver Ford Davies, who plays the Duke of York, is one of the RSC’s old and trusted hands, along with Michael Pennington (John of Gaunt), and they strike the right balance against Tennant’s flamboyant Richard to ensure the production is on firm foundations. As does Lindsay’s Bolingbrooke. Here we have a more solid-cum-gruff character than the heroic version often portrayed. A man whose power increases by the hour - with a lust for more, and who understandably treats Richard with considerable contempt.

The pick of some other fine performances are Oliver Rix’s Aumerle, who delivers the dagger’s death blow, Lapotaire’s suitably grieving Duchess of Gloucester, and Sean Chapman’s classy Earl of Northumberland.

Richard II is widely regarded as one of Shakespeare’s leading offerings, containing the memorable and evocative ‘this sceptred isle’ speech from Gaunt, and this production, while not up among the greatest, is not lagging far behind and could still zoom upwards with a spot of tidying up.

The play is running until Saturday, November 16, 2013.

Photos by Kwame Lestrade