Richard Smith-Jones (Slings and Arrows)
Title: Richard Smith-Jones - A Foolish Wit
Character/Fandom: Richard Smith-Jones, Slings and Arrows.
Author: lozenger8
Email: lozenger8 at gmail dot com.
Spoilers: You really need to have seen Slings and Arrows Seasons 1 & 2 unless you want to be spoiled rotten. My essay would probably have been 20 words long if I had not discussed specific actions the character takes and the events which transpire.
Notes: Slings and Arrows has three seasons, 6 episodes each. The third and final season has not aired anywhere in the world as of my writing this essay. As I refer to my essay on Geoffrey a few times, I suggest reading that before reading this essay on Richard. A million thank yous to bjohan57 for beta-reading this essay, pointing out invaluable additions, and assisting me to order my thoughts on Richard.
"Those wits, that think they have thee
do very oft prove fools;
and I that am sure I lack thee, may pass for a wise man.
For what says Quinapalus?
'Better a witty fool than a foolish wit.'"
This essay is inclined to be far more biased than my foray into the complexities of Geoffrey Tennant, and deals more closely with the plot of Slings and Arrows in both Seasons 1 and 2. This is necessary in detailing the character of Richard Smith-Jones as he is very much a plot-driven and plot-progressing character. I like to think that Geoffrey can exist outside of what we see in canon. He may be an enigma, and we may not know much of what his personal belief structure is, but we’re given glimpses into what Geoffrey could be like in other contexts. All we know of Richard is his life as General Manager of the New Burbage Theatre Festival. I would argue that it is far more difficult to separate Richard from Slings and Arrows as an entity in and of himself.
I shall say from the outset that I am fond of Richard. My good conscience tells me that affection for Richard is as absurd as his character, but in true Darcy fashion, “In vain have I struggled. It will not do. My feelings will not be repressed.” I like Richard. I do. I feel empathy towards Richard. I want Richard to be able to become a better person. I think there is potential there. I want Richard to lead a happy and healthy life. I dream of Richard having a grand romance with Anna and succeeding in creating a brilliant New Burbage Theatre Festival with Geoffrey. Alas, these do not appear to be wishes that shall ever be fulfilled. I am forced to gaze upon Richard from afar, wistfully thinking about what could have been.
For the most part, Richard acts as the antagonist in Slings and Arrows. He is not a worthy villain. He is weak-willed and has a strange sort of ambition, but he enacts the role of an enemy to Geoffrey and the New Burbage Theatre Festival. Richard is a foolish wit. He is supposed to be an intelligent businessman, adept at managing the festival, but turns into a saboteur. He’s a man who becomes the accomplice to Lady Macbeth Holly Day in the first season of Slings and Arrows and almost completely destroys the festival through a risky advertising campaign in the second. There are hints in the finale of the second season that Richard is also to oust Geoffrey and become Artistic Director of the festival in the third season of Slings and Arrows. If this isn’t the final nail in the coffin for the festival, I don’t know what would be (barring a Hamlet style bloodbath.)
I mentioned in my essay on Geoffrey that for much of season one, Richard is the RichardMacbeth, but he does not even really compare to the Scottish King. Richard’s motivation behind his ambition is confusing, to say the least. You find yourself questioning his actions if only by virtue that he questions them himself. Holly offers him something physical, as well as a pipe-dream, but his emotional investment in these do not seem nearly as strong as the terrible repercussions of his actions, or inaction, suggest. Whereas Geoffrey has his passion for Ellen, Richard has his passion for… Musical Theatre. This is his motivator. It’s the only one we really know about. In the first season, Holly uses this to tempt him ‘to the dark side’, and in the second season he wants to be in the festival’s production of The Pirates of Penzance, even going so far as to audition.
Throughout the second season of Slings and Arrows, you have the persistent question which begs an answer: why on earth does Richard remain as the Managing Director for the festival when he does not love the theatre, is in over his head and is hated by all those around him? Why? Surely he can go find another job? He could move. He could go be an accountant at Allied Acrylic as Terry joins the thespians at The Rose. It makes sense. What Richard actually does do makes little sense to those with reason. Richard is one of those characters I hinted at in my essay on Geoffrey who are less sane than the mad artist.
Mark McKinney describes the character he plays (and writes for) as a “quasi-neurotic lost soul who’s condemned by the Gods to learn everything the hard way.” And this description would be perfect, if Richard ever actually learnt anything. He is, perhaps, ‘condemned by the Gods to encounter everything the hard way, learning from this being optional.’ Richard was seduced in the first season by Holly Day, seduced by Sanjay Rainier in the second, and it appears will be seduced in the third by Archer. Oh Richard, why don’t you learn from your mistakes? Do not trust the people who compliment you. They’re out to get you and everything you (don’t actually appear to) hold dear.
It would be nice to think that Richard is merely the pawn for the true villainous characters of Slings and Arrows, that he is an agent as opposed to a knowing and deliberate aide, but this doesn’t appear to be the case. Fool me once, shame on you, fool me twice, shame on me. Richard, for whatever reasons, ambitions or motivations, willingly goes along with schemes. It’s not just that he is unaware of the true danger his behaviours may wring, it isn’t that he is merely completely blind to other people’s agendas. The terror in Richard is that he may be a foolish wit, but he’s still a wit. He can be cunning, and ruthless, and devious.
Despite this, Richard appears to feel regret and guilt for his duplicitous and complicit part in the first attempted ruining of the New Burbage Theatre Festival.
Episode 2.01 - Richard, Drunk, in the Bar.
I wanna apologise for everything I’ve done. For… selling out the festival, for sabotaging the Hamlet. My behaviour was inexcusable. It was a sex thing. I wanna tell all of you that nothing like that will ever happen again. I swear to God.
Of course, Richard is lying. He may not know he is lying, but he most certainly is. His relationship and conspiring with Holly was not just “a sex thing”. Perhaps it is only me, but I don’t think Richard is an entirely unattractive person. Whilst he hints that he hasn’t had much luck with women, I think he could probably find someone else willing to fulfil his sexual needs if he tried to. The “sex thing” is not a strong enough motivator for his mistreatment of May or his betrayal of everyone involved in the festival. Richard omits information. He does not mention his confessed hatred of Shakespeare, nor his love for Musical Theatre. There is enough evidence in canon to suggest that he, personally, wanted the festival to change.
Episode 1.03 - Richard and Holly have just seen Mamma Mia.
Richard: How the hell did I wind up in New Burbage? How’d that happen?
Holly: Okay, do not torture yourself. Come on, let’s go for a drink.
And later;
Richard: I’m so sick of hearing “Oh it’s a dense play, oh it’s a difficult play." I’ve never seen anyone come singing and dancing out of The Swan like we just did.
Holly: I know! And why do you think that is?
Richard: Well, because Shakespeare. Shakespeare’s like…
Holly: [interrupting] 400 years old.
Richard: And I don’t even think he was that good. There, I said it.
And later some more;
Richard: I don’t like Shakespeare.
Holly: Nobody does, Richard. That’s the thing. You put on plays that nobody wants to see. God, what a waste.
Richard: You’re right. You’re right.
Richard is also lying in regards to his comment that ‘nothing like that will ever happen again,’ because, of course, it does happen again. Richard goes to PR company Froghammer, and even though the rebranding and advertising of the New Burbage Theatre Festival is appearing to destroy it once and for all, does nothing to stop it. Sanjay’s advertising campaign is supremely tasteless, with billboards such as that of a dying person in a hospital bed displaying the words “Our Subscribers” and “New Burbage Theatre Festival - Don’t Bother”, not to mention the creation of posters using quotes from the very worst reviews their festival plays have received. These are supposed to create a powerful reaction in the audience, and they do. They inspire people to cancel their subscriptions. Richard allows Sanjay to convince him that everything will be fine, even though his better judgement dictates it will not be. The fact that yes, everything does turn out to be fine, means little in regards to Richard’s actions. He still chooses to go along with Sanjay, even when it spells disaster.
It is in these instances that I find myself thinking that Richard does not exactly crave power, nor control, as he willingly lets himself be lead by those who attempt to influence him. It is here where Richard most confounds me. However, perhaps the truth is that Richard does crave power and control, and sees his ability to gain these only from being lead by others. There is a possibility that he knows he does not have the wherewithal to achieve any notion of half-formed goals without being able to step back and blame his actions on others. “It was a sex thing,”, “how was I to know he wasn’t who he said he was?” and a possible “Archer was the one who wanted me to be Artistic Director!” His motives may be unconscious, just as his lying was in episode 2.01. To be honest, I don’t know. I don’t understand Richard’s intrinsic motivations, even as I view his extrinsic ones coming into play. Richard does not get a Shakespearean soliloquy, he does not have an invisible friend. I do not truly understand Richard’s perspective.
The reason Richard was not mentioned often in my essay on Geoffrey was not only because I knew I would be writing an essay on him individually. He really does not figure much in Geoffrey’s life, though Geoffrey figures in his. Yes, in the first season of Slings and Arrows, Richard is directly attempting to sabotage Geoffrey’s work, and acts as a direct antagonist to his protagonist, but Geoffrey is more concerned with Oliver’s and Ellen’s appearances as enemies to worry much about Mister Smith-Jones. Richard is obviously angry that Geoffrey becomes Artistic Director, and sees him as a rival, but the animosity does not run deep.
By the second season, Richard appears to quite like Geoffrey. In fact, the two share drinks together as they further isolate themselves from all others involved in the festival. Richard has good reason to like Geoffrey. After all, it is Geoffrey’s Hamlet which gives Richard an insight into the wonder and brilliance of Shakespeare, and Richard appears similarly enthralled with the Tennant Macbeth. It does make you wonder why Richard seems to like Archer’s proposal that he become the next Artistic Director. Geoffrey is doing a good job. Richard does not hate Shakespeare any longer. There is little to be gained from the change in role or title, unless Geoffrey is hiding considerable wealth from a salary we are not told about.
Richard is, in many ways, the archetype of the person for profit. He sees the theatre only as a commercial venture.
Episode 1.01 - Richard and Oliver discuss the seating plan for opening night of the flagship production of the festival.
Oliver: You don’t understand, Richard.
Richard: No you don’t understand, Oliver. We cannot afford to alienate our leading corporate sponsor just because you’re feeling sentimental.
Oliver: Well someone is going to get alienated, and I would prefer that it were Fred from accounting and his prostitute companion than two men who have devoted their lives to this theatre.
Richard: I have to go. To Lenstrex [the corporate sponsor] actually, they’re having some sort of crisis. Look, Oliver, find me some seats please. And you know, I wish you would think of this place as a place of business, because that’s what it is, you know. It’s a business.
It is Richard who started the New Burbage Theatre Festival gift shop from which Geoffrey proclaims he stole his “hideous mug”, a mug which literally displays art as product. In contrast to Geoffrey, who is wrapped up in theatre as art, Richard views theatre in simplistic terms - as a business. Richard’s complete lack of understanding, coupled with his ambiguous ambition, results in his creating problems for the festival at every turn. Yet, despite occupying this role of person for profit, Richard is prompted by Sanjay to explore his more creative side. He attempts to teach himself how to play the clarinet. He wants to be more than he is.
It is interesting that in his description of his character, McKinney also calls Richard ‘a lost soul’, for this is surely true. Richard appears to have no close family. He spends Christmas alone, doing work. He has few friends that we see, even before his betrayal of the festival. He is a social outcast. He latches onto the attention Holly and Sanjay lavish upon him precisely because they are giving him the attention that few involved with the festival display. Sanjay in particular has a strong influence on Richard, inspiring him to dress more casually and start quoting Richard Nixon.
Richard does, however, engage in a somewhat affectionate relationship with Associate Administrative Director Anna. There is a touching scene where the two exchange gifts.
Episode 2.02 - Anna has just told Richard about the ‘funding for rebranding’ scheme.
Richard: Was there something else?
Anna: Well, I won’t see you before January so uh… [she delves into a filing cabinet, retrieving a small box]
Richard: (giggling) Oh. Uhuh. Should I open it now?
Anna: You don’t have to. It’s really stupid.
Richard: I’ll open it now.
Anna: It’s… just a stupid thing. [Richard brings the object out, quirks his eyebrow at Anna.] It’s an executive stress ball. It’s really stupid. [Richard delves into his desk drawer, brings out a small decorated bag and hands it to Anna.] Oh! [Anna brings the object out, smiles at Richard. It’s an executive stress ball of her own.] It’s like the gift of the magi!
Richard: Yeah. Anna, I’ve really gotta write this up.
Anna: Sure.
Richard: Thanks.
This friendship with Anna, well, it hints at a potential romantic relationship rather than it depicts one. When telling Ellen that she is having an affair with someone involved in the festival, Anna immediately states “not Richard,” as if someone would automatically conclude it would be him. The person she is having an affair with bares a resemblence to our General Manager, with similar hair colour, glasses and patterns of speech. Anna and Richard have a simpatico, they understand each other as far as they allow themselves to. They move in tandem together on matters of work. They are alike in some ways, as Anna also appears to have little life outside the New Burbage Theatre Festival. I’d like to say that Anna has feelings for Richard, even if he is too blind to see. Or perhaps this is a figment of my imagination because they’re just so gosh darn cute together. Anna is one of the people who cares enough to call Richard up on his insensitive narrow-mindedness.
Episode 2.03 - Richard and Anna discuss the unfortunate injury of the director of Romeo and Juliet.
Richard: So, Nadine’s neck is broken, is that what you’re saying?
Anna: Yes.
Richard: We’ll have to find a replacement.
Anna: Yes, and her neck is broken which is much worse than having to find a replacement director!
Richard: Yes, yet, of course. I’m not being insensitive, Anna. I’m just thinking ahead, okay? Let’s send her some flowers, okay? Er, a basket. Big. Let’s pray she doesn’t sue.
Anna: Of course, because that would be truly horrible.
Richard: What? I’m not heartless, I’m just. I’m… detail oriented.
Episode 1.02 - Richard attempts to organise things after the death of Oliver.
Richard: [Holding a phone but talking to Anna.] We’ll need to write up a memo to tell the staff and the actors what’s going on.
Anna: What is going on?
Richard: Well, you know. That Oliver’s dead. And that we’re gonna reschedule rehearsals. [To the phone.] Hi, yeah, I’m holding for the Minister.
Anna: You want me to write that Oliver’s dead and we’re rescheduling rehearsals?
Richard: Not those words. Ease into it. Uh. Oh listen, we’re gonnna need a press release too. No. Wait. We should have press conference. Here. At the theatre. We’ll need sandwiches.
Anna: Do I say that there was an accident? Do I mention the pig truck?
Richard: Anna, tell them that there was an automobile accident, ask for everybody’s patience, and let them know about the schedule changes. You know, Anna, just let people know what’s going on for Christ’s sake. [Anna starts crying.] Anna, I can’t comfort you. I’m on hold.
You get the sense that Richard could be a better person if he spent more time with Anna outside of work hours. Where Anna has a great deal of natural instinct, Richard has none. With more influence from Anna, he could fulfil his potential as a force of Good, as opposed to a force of Evil (as diluted an evil as he is.)
Throughout season two, even though he is seemingly destroying the festival, Richard is at least working towards aiding it. He creates large amounts of stress for himself, working towards getting the festival funding. He thinks, on certain occasions, that he is doing the right thing. The only problem is that, deus ex machina not withstanding, he’s really not. Richard is largely a failure. In the first season, he fails in overhauling the New Burbage Theatre Festival. Our protagonist Geoffrey comes to save the day. In the second season, he fails in earning the respect and trust of those around him. They still consider him an annoying twerp. He fails when he auditions for Pirates of Penzance. He really is a wonderful singer, but he doesn’t know the role involves dance. It is important to note that this occurs during his singing such already ironic lines as “I am the very model of a modern Major-General”. He fails often. At the same time, Richard is extraordinarily lucky. He somehow manages to keep his job. He gets funding from the Minister to rebrand the festival. At the last second, Sanjay’s method of rebranding truly does result in a ‘youthquake’. And well, no, he doesn’t get to be in The Pirates of Penzance, but at least he gives it a shot.
Richard does not appear to have any strengths. He is, as McKinney says, quasi-neurotic (though really, he is neurotic, hiding behind a veil of quasi.) He has a questionable taste in fashion, if his ties are anything to be believed. He is socially awkward. He makes a plethora of bad judgements throughout his professional life. He does not have much of a personal life. He’s just not very good, at anything. The one skill he does possess, his rather beautiful singing voice, is completely overshadowed by the inappropriateness of him having such a talent. The same goes for his progress in learning the clarinet. He seems, in many ways, to not only be ‘a lost soul’, but partially soulless, if this is possible.
Yet despite this, despite thinking he’s a fool and marvelling at his insensitivity, oddly misplaced ambition and total inability, I feel sympathetic towards the character of Richard Smith-Jones. As I previously mentioned, I like him. I want Richard to be happy, and when he is happy for reasons other than the nefarious, I am pleased. I have never felt more sorry for a character than I did during the first time I watched his Pirates of Penzance audition. He was doing such a marvellous job until that revelation that he would have to dance. In a dark and horribly amusing way, much like Geoffrey, the scene of his greatest triumph is the scene of his greatest downfall.
Mark McKinney, like the rest of the cast of Slings and Arrows, is a brilliant actor. He is also an amazing comedian. His performance on Slings and Arrows inspired me to hunt down everything he’s ever done, which resulted in several months worth of watching The Kids in the Hall (a program I have grown to love with a ferocity rivalling my love of S&A). Like the other Kids, McKinney has a somewhat dark and twisted sense of humour, coupled with impeccable comedic timing. It's important to me that Mark plays Richard. It's important to me that, along with Bob Martin and Susan Coyne (who play Terry and Anna respectively), Mark writes Richard, because clearly things I am seeing in this character are direct attributes he has given him. In his description of Richard, he uses sympathetic language. He does not say “Richard is a deeply ineffectual coward who creates havoc for the festival whilst he is supposed to be helping it.”
In the first season it feels as though Mark plays Richard more as the straight man in a non-existent comedy duo. Whilst the character is a fool, he does not often play him foolishly. For the most part, Richard seems relatively normal. He dresses conservatively, speaks in usually modulated tones, moves as you would expect a General Manager or someone else in an administrative position to move- stiff and economically. Towards the second season, however, there is a shift in dynamics. The first episode of this season has Richard drunk most of the time, singing and generally just acting like a prat. As he begins to snap under the pressure, Richard displays signs of hysteria. Mark plays Richard for the fool he is, drawing on his vast comedic talent in a multitude of ways. Mark uses his vocal ability to hilarous effect. When Richard is drunk, he sounds drunk, his speech is slurred and deepened, when Richard is hysterical, he is high-pitched and whiny. His body language is exaggerated for effect. Part of Richard’s evolution as a character throughout the first and second seasons of Slings and Arrows is dependant upon the actor’s intent. I don’t think Mark wants the audience to hate Richard, even though the character really has few desirable traits.
"Better a witty fool than a foolish wit," says Feste in Twelfth Night, and I am inclined to agree with him. It can’t be easy being Richard, a character generally reviled or, at the very least, looked upon disdainfully, by those around him, for usually good reasons. In some ways he is the archetypal greedy businessman, in others he is the court jester. He is the villain, the swindler, the crook, the malformed champion. He could even be seen as a Shakespearean tragic hero parallel to Geoffrey. It is easier to look at Richard with what he is not, however. He is not particularly useful, either to those who try to use him, or to those who are stuck with him. He is not charming, nor gracious, nor overly charismatic. He is not all that easy to understand. He is not yet redeemed.
Other Notes:
S&A inspired me to fall madly in love with Mark McKinney, co-writer, star and Kid in the Hall. If you’re interested in him, I also recommend Falling Angels and The Saddest Music in the World. Callum Keith Rennie is also in Falling Angels, so make that a double recommendation.
melancholydanes - the Slings and Arrows Livejournal community.
kidsinthehall - the Kids in the Hall Livejournal community.
ds_6degrees - a community devoted to fiction revolving around the shows that due South actors have been in, which of course, includes Slings and Arrows.
And I may as well link ds_noticeboard too, because you often get tangential fandom links posted there, Slings and Arrows included.
This fandom is still small, because Slings and Arrows has heretofore mostly shown only on specific cable channels like The Movie Network and The Sundance Channel. Thanks to malnpudl, I have been informed that you can preorder (as of writing this essay) S&A Season 1 At Amazon.ca or Amazon.com.
Character/Fandom: Richard Smith-Jones, Slings and Arrows.
Author: lozenger8
Email: lozenger8 at gmail dot com.
Spoilers: You really need to have seen Slings and Arrows Seasons 1 & 2 unless you want to be spoiled rotten. My essay would probably have been 20 words long if I had not discussed specific actions the character takes and the events which transpire.
Notes: Slings and Arrows has three seasons, 6 episodes each. The third and final season has not aired anywhere in the world as of my writing this essay. As I refer to my essay on Geoffrey a few times, I suggest reading that before reading this essay on Richard. A million thank yous to bjohan57 for beta-reading this essay, pointing out invaluable additions, and assisting me to order my thoughts on Richard.
"Those wits, that think they have thee
do very oft prove fools;
and I that am sure I lack thee, may pass for a wise man.
For what says Quinapalus?
'Better a witty fool than a foolish wit.'"
This essay is inclined to be far more biased than my foray into the complexities of Geoffrey Tennant, and deals more closely with the plot of Slings and Arrows in both Seasons 1 and 2. This is necessary in detailing the character of Richard Smith-Jones as he is very much a plot-driven and plot-progressing character. I like to think that Geoffrey can exist outside of what we see in canon. He may be an enigma, and we may not know much of what his personal belief structure is, but we’re given glimpses into what Geoffrey could be like in other contexts. All we know of Richard is his life as General Manager of the New Burbage Theatre Festival. I would argue that it is far more difficult to separate Richard from Slings and Arrows as an entity in and of himself.
I shall say from the outset that I am fond of Richard. My good conscience tells me that affection for Richard is as absurd as his character, but in true Darcy fashion, “In vain have I struggled. It will not do. My feelings will not be repressed.” I like Richard. I do. I feel empathy towards Richard. I want Richard to be able to become a better person. I think there is potential there. I want Richard to lead a happy and healthy life. I dream of Richard having a grand romance with Anna and succeeding in creating a brilliant New Burbage Theatre Festival with Geoffrey. Alas, these do not appear to be wishes that shall ever be fulfilled. I am forced to gaze upon Richard from afar, wistfully thinking about what could have been.
For the most part, Richard acts as the antagonist in Slings and Arrows. He is not a worthy villain. He is weak-willed and has a strange sort of ambition, but he enacts the role of an enemy to Geoffrey and the New Burbage Theatre Festival. Richard is a foolish wit. He is supposed to be an intelligent businessman, adept at managing the festival, but turns into a saboteur. He’s a man who becomes the accomplice to Lady Macbeth Holly Day in the first season of Slings and Arrows and almost completely destroys the festival through a risky advertising campaign in the second. There are hints in the finale of the second season that Richard is also to oust Geoffrey and become Artistic Director of the festival in the third season of Slings and Arrows. If this isn’t the final nail in the coffin for the festival, I don’t know what would be (barring a Hamlet style bloodbath.)
I mentioned in my essay on Geoffrey that for much of season one, Richard is the RichardMacbeth, but he does not even really compare to the Scottish King. Richard’s motivation behind his ambition is confusing, to say the least. You find yourself questioning his actions if only by virtue that he questions them himself. Holly offers him something physical, as well as a pipe-dream, but his emotional investment in these do not seem nearly as strong as the terrible repercussions of his actions, or inaction, suggest. Whereas Geoffrey has his passion for Ellen, Richard has his passion for… Musical Theatre. This is his motivator. It’s the only one we really know about. In the first season, Holly uses this to tempt him ‘to the dark side’, and in the second season he wants to be in the festival’s production of The Pirates of Penzance, even going so far as to audition.
Throughout the second season of Slings and Arrows, you have the persistent question which begs an answer: why on earth does Richard remain as the Managing Director for the festival when he does not love the theatre, is in over his head and is hated by all those around him? Why? Surely he can go find another job? He could move. He could go be an accountant at Allied Acrylic as Terry joins the thespians at The Rose. It makes sense. What Richard actually does do makes little sense to those with reason. Richard is one of those characters I hinted at in my essay on Geoffrey who are less sane than the mad artist.
Mark McKinney describes the character he plays (and writes for) as a “quasi-neurotic lost soul who’s condemned by the Gods to learn everything the hard way.” And this description would be perfect, if Richard ever actually learnt anything. He is, perhaps, ‘condemned by the Gods to encounter everything the hard way, learning from this being optional.’ Richard was seduced in the first season by Holly Day, seduced by Sanjay Rainier in the second, and it appears will be seduced in the third by Archer. Oh Richard, why don’t you learn from your mistakes? Do not trust the people who compliment you. They’re out to get you and everything you (don’t actually appear to) hold dear.
It would be nice to think that Richard is merely the pawn for the true villainous characters of Slings and Arrows, that he is an agent as opposed to a knowing and deliberate aide, but this doesn’t appear to be the case. Fool me once, shame on you, fool me twice, shame on me. Richard, for whatever reasons, ambitions or motivations, willingly goes along with schemes. It’s not just that he is unaware of the true danger his behaviours may wring, it isn’t that he is merely completely blind to other people’s agendas. The terror in Richard is that he may be a foolish wit, but he’s still a wit. He can be cunning, and ruthless, and devious.
Despite this, Richard appears to feel regret and guilt for his duplicitous and complicit part in the first attempted ruining of the New Burbage Theatre Festival.
Episode 2.01 - Richard, Drunk, in the Bar.
I wanna apologise for everything I’ve done. For… selling out the festival, for sabotaging the Hamlet. My behaviour was inexcusable. It was a sex thing. I wanna tell all of you that nothing like that will ever happen again. I swear to God.
Of course, Richard is lying. He may not know he is lying, but he most certainly is. His relationship and conspiring with Holly was not just “a sex thing”. Perhaps it is only me, but I don’t think Richard is an entirely unattractive person. Whilst he hints that he hasn’t had much luck with women, I think he could probably find someone else willing to fulfil his sexual needs if he tried to. The “sex thing” is not a strong enough motivator for his mistreatment of May or his betrayal of everyone involved in the festival. Richard omits information. He does not mention his confessed hatred of Shakespeare, nor his love for Musical Theatre. There is enough evidence in canon to suggest that he, personally, wanted the festival to change.
Episode 1.03 - Richard and Holly have just seen Mamma Mia.
Richard: How the hell did I wind up in New Burbage? How’d that happen?
Holly: Okay, do not torture yourself. Come on, let’s go for a drink.
And later;
Richard: I’m so sick of hearing “Oh it’s a dense play, oh it’s a difficult play." I’ve never seen anyone come singing and dancing out of The Swan like we just did.
Holly: I know! And why do you think that is?
Richard: Well, because Shakespeare. Shakespeare’s like…
Holly: [interrupting] 400 years old.
Richard: And I don’t even think he was that good. There, I said it.
And later some more;
Richard: I don’t like Shakespeare.
Holly: Nobody does, Richard. That’s the thing. You put on plays that nobody wants to see. God, what a waste.
Richard: You’re right. You’re right.
Richard is also lying in regards to his comment that ‘nothing like that will ever happen again,’ because, of course, it does happen again. Richard goes to PR company Froghammer, and even though the rebranding and advertising of the New Burbage Theatre Festival is appearing to destroy it once and for all, does nothing to stop it. Sanjay’s advertising campaign is supremely tasteless, with billboards such as that of a dying person in a hospital bed displaying the words “Our Subscribers” and “New Burbage Theatre Festival - Don’t Bother”, not to mention the creation of posters using quotes from the very worst reviews their festival plays have received. These are supposed to create a powerful reaction in the audience, and they do. They inspire people to cancel their subscriptions. Richard allows Sanjay to convince him that everything will be fine, even though his better judgement dictates it will not be. The fact that yes, everything does turn out to be fine, means little in regards to Richard’s actions. He still chooses to go along with Sanjay, even when it spells disaster.
It is in these instances that I find myself thinking that Richard does not exactly crave power, nor control, as he willingly lets himself be lead by those who attempt to influence him. It is here where Richard most confounds me. However, perhaps the truth is that Richard does crave power and control, and sees his ability to gain these only from being lead by others. There is a possibility that he knows he does not have the wherewithal to achieve any notion of half-formed goals without being able to step back and blame his actions on others. “It was a sex thing,”, “how was I to know he wasn’t who he said he was?” and a possible “Archer was the one who wanted me to be Artistic Director!” His motives may be unconscious, just as his lying was in episode 2.01. To be honest, I don’t know. I don’t understand Richard’s intrinsic motivations, even as I view his extrinsic ones coming into play. Richard does not get a Shakespearean soliloquy, he does not have an invisible friend. I do not truly understand Richard’s perspective.
The reason Richard was not mentioned often in my essay on Geoffrey was not only because I knew I would be writing an essay on him individually. He really does not figure much in Geoffrey’s life, though Geoffrey figures in his. Yes, in the first season of Slings and Arrows, Richard is directly attempting to sabotage Geoffrey’s work, and acts as a direct antagonist to his protagonist, but Geoffrey is more concerned with Oliver’s and Ellen’s appearances as enemies to worry much about Mister Smith-Jones. Richard is obviously angry that Geoffrey becomes Artistic Director, and sees him as a rival, but the animosity does not run deep.
By the second season, Richard appears to quite like Geoffrey. In fact, the two share drinks together as they further isolate themselves from all others involved in the festival. Richard has good reason to like Geoffrey. After all, it is Geoffrey’s Hamlet which gives Richard an insight into the wonder and brilliance of Shakespeare, and Richard appears similarly enthralled with the Tennant Macbeth. It does make you wonder why Richard seems to like Archer’s proposal that he become the next Artistic Director. Geoffrey is doing a good job. Richard does not hate Shakespeare any longer. There is little to be gained from the change in role or title, unless Geoffrey is hiding considerable wealth from a salary we are not told about.
Richard is, in many ways, the archetype of the person for profit. He sees the theatre only as a commercial venture.
Episode 1.01 - Richard and Oliver discuss the seating plan for opening night of the flagship production of the festival.
Oliver: You don’t understand, Richard.
Richard: No you don’t understand, Oliver. We cannot afford to alienate our leading corporate sponsor just because you’re feeling sentimental.
Oliver: Well someone is going to get alienated, and I would prefer that it were Fred from accounting and his prostitute companion than two men who have devoted their lives to this theatre.
Richard: I have to go. To Lenstrex [the corporate sponsor] actually, they’re having some sort of crisis. Look, Oliver, find me some seats please. And you know, I wish you would think of this place as a place of business, because that’s what it is, you know. It’s a business.
It is Richard who started the New Burbage Theatre Festival gift shop from which Geoffrey proclaims he stole his “hideous mug”, a mug which literally displays art as product. In contrast to Geoffrey, who is wrapped up in theatre as art, Richard views theatre in simplistic terms - as a business. Richard’s complete lack of understanding, coupled with his ambiguous ambition, results in his creating problems for the festival at every turn. Yet, despite occupying this role of person for profit, Richard is prompted by Sanjay to explore his more creative side. He attempts to teach himself how to play the clarinet. He wants to be more than he is.
It is interesting that in his description of his character, McKinney also calls Richard ‘a lost soul’, for this is surely true. Richard appears to have no close family. He spends Christmas alone, doing work. He has few friends that we see, even before his betrayal of the festival. He is a social outcast. He latches onto the attention Holly and Sanjay lavish upon him precisely because they are giving him the attention that few involved with the festival display. Sanjay in particular has a strong influence on Richard, inspiring him to dress more casually and start quoting Richard Nixon.
Richard does, however, engage in a somewhat affectionate relationship with Associate Administrative Director Anna. There is a touching scene where the two exchange gifts.
Episode 2.02 - Anna has just told Richard about the ‘funding for rebranding’ scheme.
Richard: Was there something else?
Anna: Well, I won’t see you before January so uh… [she delves into a filing cabinet, retrieving a small box]
Richard: (giggling) Oh. Uhuh. Should I open it now?
Anna: You don’t have to. It’s really stupid.
Richard: I’ll open it now.
Anna: It’s… just a stupid thing. [Richard brings the object out, quirks his eyebrow at Anna.] It’s an executive stress ball. It’s really stupid. [Richard delves into his desk drawer, brings out a small decorated bag and hands it to Anna.] Oh! [Anna brings the object out, smiles at Richard. It’s an executive stress ball of her own.] It’s like the gift of the magi!
Richard: Yeah. Anna, I’ve really gotta write this up.
Anna: Sure.
Richard: Thanks.
This friendship with Anna, well, it hints at a potential romantic relationship rather than it depicts one. When telling Ellen that she is having an affair with someone involved in the festival, Anna immediately states “not Richard,” as if someone would automatically conclude it would be him. The person she is having an affair with bares a resemblence to our General Manager, with similar hair colour, glasses and patterns of speech. Anna and Richard have a simpatico, they understand each other as far as they allow themselves to. They move in tandem together on matters of work. They are alike in some ways, as Anna also appears to have little life outside the New Burbage Theatre Festival. I’d like to say that Anna has feelings for Richard, even if he is too blind to see. Or perhaps this is a figment of my imagination because they’re just so gosh darn cute together. Anna is one of the people who cares enough to call Richard up on his insensitive narrow-mindedness.
Episode 2.03 - Richard and Anna discuss the unfortunate injury of the director of Romeo and Juliet.
Richard: So, Nadine’s neck is broken, is that what you’re saying?
Anna: Yes.
Richard: We’ll have to find a replacement.
Anna: Yes, and her neck is broken which is much worse than having to find a replacement director!
Richard: Yes, yet, of course. I’m not being insensitive, Anna. I’m just thinking ahead, okay? Let’s send her some flowers, okay? Er, a basket. Big. Let’s pray she doesn’t sue.
Anna: Of course, because that would be truly horrible.
Richard: What? I’m not heartless, I’m just. I’m… detail oriented.
Episode 1.02 - Richard attempts to organise things after the death of Oliver.
Richard: [Holding a phone but talking to Anna.] We’ll need to write up a memo to tell the staff and the actors what’s going on.
Anna: What is going on?
Richard: Well, you know. That Oliver’s dead. And that we’re gonna reschedule rehearsals. [To the phone.] Hi, yeah, I’m holding for the Minister.
Anna: You want me to write that Oliver’s dead and we’re rescheduling rehearsals?
Richard: Not those words. Ease into it. Uh. Oh listen, we’re gonnna need a press release too. No. Wait. We should have press conference. Here. At the theatre. We’ll need sandwiches.
Anna: Do I say that there was an accident? Do I mention the pig truck?
Richard: Anna, tell them that there was an automobile accident, ask for everybody’s patience, and let them know about the schedule changes. You know, Anna, just let people know what’s going on for Christ’s sake. [Anna starts crying.] Anna, I can’t comfort you. I’m on hold.
You get the sense that Richard could be a better person if he spent more time with Anna outside of work hours. Where Anna has a great deal of natural instinct, Richard has none. With more influence from Anna, he could fulfil his potential as a force of Good, as opposed to a force of Evil (as diluted an evil as he is.)
Throughout season two, even though he is seemingly destroying the festival, Richard is at least working towards aiding it. He creates large amounts of stress for himself, working towards getting the festival funding. He thinks, on certain occasions, that he is doing the right thing. The only problem is that, deus ex machina not withstanding, he’s really not. Richard is largely a failure. In the first season, he fails in overhauling the New Burbage Theatre Festival. Our protagonist Geoffrey comes to save the day. In the second season, he fails in earning the respect and trust of those around him. They still consider him an annoying twerp. He fails when he auditions for Pirates of Penzance. He really is a wonderful singer, but he doesn’t know the role involves dance. It is important to note that this occurs during his singing such already ironic lines as “I am the very model of a modern Major-General”. He fails often. At the same time, Richard is extraordinarily lucky. He somehow manages to keep his job. He gets funding from the Minister to rebrand the festival. At the last second, Sanjay’s method of rebranding truly does result in a ‘youthquake’. And well, no, he doesn’t get to be in The Pirates of Penzance, but at least he gives it a shot.
Richard does not appear to have any strengths. He is, as McKinney says, quasi-neurotic (though really, he is neurotic, hiding behind a veil of quasi.) He has a questionable taste in fashion, if his ties are anything to be believed. He is socially awkward. He makes a plethora of bad judgements throughout his professional life. He does not have much of a personal life. He’s just not very good, at anything. The one skill he does possess, his rather beautiful singing voice, is completely overshadowed by the inappropriateness of him having such a talent. The same goes for his progress in learning the clarinet. He seems, in many ways, to not only be ‘a lost soul’, but partially soulless, if this is possible.
Yet despite this, despite thinking he’s a fool and marvelling at his insensitivity, oddly misplaced ambition and total inability, I feel sympathetic towards the character of Richard Smith-Jones. As I previously mentioned, I like him. I want Richard to be happy, and when he is happy for reasons other than the nefarious, I am pleased. I have never felt more sorry for a character than I did during the first time I watched his Pirates of Penzance audition. He was doing such a marvellous job until that revelation that he would have to dance. In a dark and horribly amusing way, much like Geoffrey, the scene of his greatest triumph is the scene of his greatest downfall.
Mark McKinney, like the rest of the cast of Slings and Arrows, is a brilliant actor. He is also an amazing comedian. His performance on Slings and Arrows inspired me to hunt down everything he’s ever done, which resulted in several months worth of watching The Kids in the Hall (a program I have grown to love with a ferocity rivalling my love of S&A). Like the other Kids, McKinney has a somewhat dark and twisted sense of humour, coupled with impeccable comedic timing. It's important to me that Mark plays Richard. It's important to me that, along with Bob Martin and Susan Coyne (who play Terry and Anna respectively), Mark writes Richard, because clearly things I am seeing in this character are direct attributes he has given him. In his description of Richard, he uses sympathetic language. He does not say “Richard is a deeply ineffectual coward who creates havoc for the festival whilst he is supposed to be helping it.”
In the first season it feels as though Mark plays Richard more as the straight man in a non-existent comedy duo. Whilst the character is a fool, he does not often play him foolishly. For the most part, Richard seems relatively normal. He dresses conservatively, speaks in usually modulated tones, moves as you would expect a General Manager or someone else in an administrative position to move- stiff and economically. Towards the second season, however, there is a shift in dynamics. The first episode of this season has Richard drunk most of the time, singing and generally just acting like a prat. As he begins to snap under the pressure, Richard displays signs of hysteria. Mark plays Richard for the fool he is, drawing on his vast comedic talent in a multitude of ways. Mark uses his vocal ability to hilarous effect. When Richard is drunk, he sounds drunk, his speech is slurred and deepened, when Richard is hysterical, he is high-pitched and whiny. His body language is exaggerated for effect. Part of Richard’s evolution as a character throughout the first and second seasons of Slings and Arrows is dependant upon the actor’s intent. I don’t think Mark wants the audience to hate Richard, even though the character really has few desirable traits.
"Better a witty fool than a foolish wit," says Feste in Twelfth Night, and I am inclined to agree with him. It can’t be easy being Richard, a character generally reviled or, at the very least, looked upon disdainfully, by those around him, for usually good reasons. In some ways he is the archetypal greedy businessman, in others he is the court jester. He is the villain, the swindler, the crook, the malformed champion. He could even be seen as a Shakespearean tragic hero parallel to Geoffrey. It is easier to look at Richard with what he is not, however. He is not particularly useful, either to those who try to use him, or to those who are stuck with him. He is not charming, nor gracious, nor overly charismatic. He is not all that easy to understand. He is not yet redeemed.
Other Notes:
S&A inspired me to fall madly in love with Mark McKinney, co-writer, star and Kid in the Hall. If you’re interested in him, I also recommend Falling Angels and The Saddest Music in the World. Callum Keith Rennie is also in Falling Angels, so make that a double recommendation.
melancholydanes - the Slings and Arrows Livejournal community.
kidsinthehall - the Kids in the Hall Livejournal community.
ds_6degrees - a community devoted to fiction revolving around the shows that due South actors have been in, which of course, includes Slings and Arrows.
And I may as well link ds_noticeboard too, because you often get tangential fandom links posted there, Slings and Arrows included.
This fandom is still small, because Slings and Arrows has heretofore mostly shown only on specific cable channels like The Movie Network and The Sundance Channel. Thanks to malnpudl, I have been informed that you can preorder (as of writing this essay) S&A Season 1 At Amazon.ca or Amazon.com.