Gregory Doran’s 2013 adaption of Shakespeare’s Richard II, performed by the RSC, was notable for its emphasis of a romantic subplot between King Richard and his cousin, the Duke of Aumerle. Their intimate relationship was again emphasised when Doran revived the production as part of the RSC’s King and Country cycle in 2016, thereby demonstrating that for Doran, Richard’s queerness is a fundamental aspect of the play. This research will investigate how the presentation of Richard’s sexuality, and his relationship with Aumerle in particular, has an impact on the way in which characters and situations within the play are perceived by the audience. This exploration will be underpinned by an analysis of the RSC’s 2013 performance. Use will also be made of commentary and interviews about the production, as well as critical reviews. Comparisons will be made between Doran’s production of Richard II and versions of the play produced by other directors, such as Simon Goodwin, who makes less of Richard’s sexuality, or Rupert Goold, who characterises it as a disadvantage. These contrasts will be made to demonstrate the difference that Richard’s overt Queerness - or lack thereof - has on the audience’s perception of the story. Examining this topic will demonstrate the nuances that the queer relationships in Doran’s production add to Richard II. In particular, Doran’s version of the play uses Richard II’s sexuality as a source of strength, rather than as a catalyst for his downfall, and his intimate relationship with Aumerle humanises an otherwise selfish and narcissistic King
