From the vocal virtuosity of the performers to the beguiling visual design, this eccentric and inventive retelling of Shakespeare’s tragedy inspires confidence from the start – we are clearly in highly skilled hands. Cleverly staged in the covered courtyard of the ONCA gallery in Brighton, the production employs a bricolage aesthetic with wonderful details emerging throughout the show.

There’s an unusual combination of visual elements, like the hand-painted scenery juxtaposed with the King’s fur-fringed purple shell-suit, and found-object characters next to ‘real’ and sophisticated puppets. In the wrong hands it might be an incoherent mess, but here the artistry and attention to detail creates a deeply appealing sensual feast. Look closely to notice the tiny battlements found on various aspects of the furniture, which serve to suddenly transform the throne into a castle when the miniature King appears, providing a shudder of aesthetic satisfaction.

Most of the characters are similarly represented in different forms and scales, from the crude and charismatic woollen-headed gloves of the first scene to the wonderfully sculpted wooden figures that arrive later on. This continuous variety of elements, especially the re-configured staging between the halves, ensures the production remains continuously engaging; indeed, it reveals its quality by stealth as it proceeds.

The show is directed by Linda Marlowe, designed by Willi Kerr, with puppets by Jitka Davidkova and Brigitte Dörner. It is performed in the main by Gregory Gudgeon, as the Narrator, King and the majority of other roles, each rendered distinct and believable through both the nuanced character voices and fine object animation skills. He has an assured command of the text, and it is no surprise to discover his credits include work with both the RSC and Complicite. He is very ably assisted by co-deviser and performer Lucas Augustine, who provides musical accompaniment, occasional prompting, and some equally wonderful characterisations. There is a charming chemistry between the two performers, including some swift ad-libbing in response to apparent errors, continuing a spirit of playfulness that runs throughout the show. I don’t know why Bolingbroke and his men look like ducks and speak with American accents, and I don’t care; it’s sweet and funny and effective.

Despite all of the fun, virtuosity, and ingenious use of puppets and objects, be mindful of the fact that this is 100 minutes of Shakespearian verse and if you are not familiar with the play you may well lose the plot, so some swotting up pre-show may be advisable. For buffs of the Bard, however, this will surely be a real and easy treat, and a rare opportunity to witness the tragedy of Richard II by highly skilled performers at very close quarters.

Photo credit: Pocket Epics: Puppet King Richard II at ONCA. Photo by Peter Chrisp.