“The end is nigh”.

Takeaway cartons, camcorders, cracked beer cans and bowler hats; this is the quasi-dystopian London of Shakespeare’s Richard III as re-imagined by director Sam Mendes and designer Tom Piper, as the climax of the three year Anglo-American collaboration The Bridge Project. There is a distinct emphasis on the political and destructive power of mass media, reminding me somewhat of Nicholas Hytner’s 2010 Hamlet at The National Theatre. Much like Rory Kinnear’s Hamlet, Kevin Spacey as Richard III is what propels this play far above its predecessors. He is magnificently layered: a hobbling militant, immoral, funny. Richard’s seduction of Lady Anne (Annabel Scholey) is perhaps one the most seat-squirming scenes as she succumbs to his unsavoury offerings of matrimony. Spacey oozes not only villainy, but also sexuality.

Mendes can’t help but litter the production with cinematic flourishes. Gaumont-style footage plays on loop in the background, there is a particularly clever transition scene involving an underground train carriage, and though many productions fall short on the play’s innumerable executions – opting to show too much or nothing at all – Ratcliff’s deadpan delivery of “Dispatch; the limit of your lives is out” accompanied by the simplest action of turning out a light bulb is subtly brilliant. Standout performances come from Chuk Iwuji as the charming and vindictive Buckingham, and Chandler William gives a heartbreaking performance as Clarence. Refreshingly, Mendes’ production brings female characters to the fore, with Haydn Gywnne playing Queen Elizabeth with strength and agency. The unforgettable Gemma Jones as the “bag lady” widow of Henry IV provides the spine-chilling ominous voice cursing her way to fulfilment, the beating drums foreshadowing the buckets of blood that will be (and are) shed.

With a run of just over three hours Shakespeare-phobes may feel reluctant to stick it out. That said, it’s well paced and coherent enough for a novice. You don’t get buried by the language. What I did find slightly off-putting however were the projected chapter titles, a slightly patronising way of separating the action, but keeping in mind this production will go on a worldwide tour later this year it seems only fitting, as it needs to appeal to a wider audience.

Richard III is playing at the Old Vic Theatre until 11th September. For more information and tickets, see the website here.