User:Pdebee/Oliver Bayldon

Oliver Bayldon FRSA, FCSD (12 September 1938 – 23 December 2019) was a London-based, award-winning British production designer who worked with the BBC and the Royal Academy of Music to create environments for the stage and the screen.

He is best known for designing sets or costumes for popular TV shows such as: Meet the Wife (1966), Till Death Us Do Part (1968), The Railway Children (1968), Dad's Army (1968), Z-Cars (1970–1971), The Onedin Line (1971–1972), Poldark (1975–1976), When the Boat Comes In (1976–1977), Happy Ever After (1978), Shakespeare's first tetralogy (the Henry VI plays and Richard III) directed by Jane Howell (1983), Strangers and Brothers (1984), On the Up (1990), Memento Mori (1992), and Wokenwell (1997). For the Royal Academy of Music, he created costumes or sets for four operas: Belisario (1972), The Fairy Queen Act IV: The Masque of the Seasons, Tobermory, and Trial by Jury (all 1977). His design work was the subject of five exhibitions held between 1959 and 1996.

Bayldon also wrote poetry, essays and fiction published in newspapers and books, and some of his poems and short stories were broadcast on radio. He is a cousin of the actor Geoffrey Bayldon.

Early life and education
Oliver Bayldon was born in Leicester and brought up in Rutland where, aged five, he decided he wanted to be a theatre designer after attending his first pantomime and being more impressed by the sets than by the acting.

In 1946, Bayldon joined Stamford School for eleven years, where he began to develop his design and production skills.

Stamford School (1946–1957)
In December 1953, aged 15, he participated in the presentation of Shakespeare's Coriolanus by the school's Dramatic Society, for which he also designed and stencilled the soldiers' and crowd's costumes. A few weeks later, he organised a variety show called To-night's the Night with ballet, sketches and songs, in aid of one of his witty schemes: the "Morcott Dustbin Society". Morcott is a village near Barrowden&mdash;his family home&mdash;and was devoid of dustbins at the time. During an interview with the Stamford Mercury on 15 January 1954, Bayldon explained: "The village gets a bit untidy during the summer, what with ice cream papers and that sort of thing. (...) I was about to put on a show anyway, so I thought it would be a good idea to do one for a litter basket". The show was a great success and raised £2 8s. towards a litter basket. Prior to the show, Bayldon had paid a visit to the Theatre Royal, Covent Garden, and secured a batch of costumes which were no longer used.

At the end of 1954, the school produced Nikolai Gogol's The Government Inspector, for which Bayldon designed and painted the Victorian décor, as well as acting in the leading female part "with fine control of voice and features." In the spring of 1955, Bayldon designed the costumes for the school's production of Christopher Fry's The Boy with a Cart, a story of St. Cuthman, written as a legend of miracles and faith in the style of the mystery plays. A few years earlier, in 1950, the same play had been put on professionally with the young Richard Burton in his first starring role. In December 1955, the boys presented the first part of Shakespeare's King Henry the Fourth to a limited number of parents and friends; in addition to designing and painting the scenery, Bayldon played the role of the Archbishop of York.

In November 1956, a group of masters from the school, aided by wives and friends, produced an amusing version of Brandon Thomas's Charley's Aunt to raise money for new stage equipment; Bayldon was responsible for designing the scenery. For their end-of-term play in December 1957, the boys gave a public performance&mdash;the first to use Dudley Fitts's new translation&mdash;of Aristophanes's The Frogs, a Greek comedy produced at Athens in 405 B.C.. The play, for which Bayldon had painted the gateway, was produced under the scholarly guidance of Mr. Chapman, senior classics master.

Leicester College of Art (1958–1961)
In 1958, Bayldon enrolled on a course of studies in Fine Arts and Textile Design at Leicester College of Art and Technology. When he joined, he discovered that no amateur drama society existed, despite there being a fine stage. The Leicester Evening Mail would later quote him saying: "Attempts have often been made to get one going, but one or two people have been left to do all the work. So many students are committed to evening study that it is hard to organise a group." In July, he was awarded the Sir Jonathan North Endowment Scheme gold medal for his designs of costumes and set for a local adaptation of the musical My Fair Lady.

In March 1959, he received £45 awarded annually from the Clephan Scholarship & Bursary, founded by Annie Elizabeth Clephan (1854–1930). In August of that year, he launched his first exhibition, entitled Paintings and Stage Designs, at the Bookshop in King Street, Leicester. In December, he organised the college's Arts Ball at Leicester Palais on a "Medieval" theme, attended by 800. The organising team had constructed and gaily painted a 30-ft. long, 10-ft. high dragon, from tin and cardboard. It was initially placed inside the main entrance at the dancehall, but a fire officer ordered it to be taken away as it was obstructing a fire exit; it was dismantled and parts of it were used to decorate the corners of the hall. Bayldon led the ball in a knight's mailed armour, with plumed helmet.

In March 1960, he was awarded £150 in the "Footwear" section of a design contest organised by the Royal Society of Arts industrial art bursaries. In May, St. Anthony Press, a private book publisher in Leicester, published one of Bayldon's poems, entitled "Morning", illustrated by Chris Shorten. The reviewer from the Leicester Evening Mail, stated that: "Mr. Bayldon is a young Leicester student who has had poems broadcast on the BBC Third Programme, and who is likely to have a successful career as a stage designer." In August, he wrote an article in the first issue of Crescent, one of Leicester's two privately published magazines. The Leicester Evening Mail reviewer wrote: "Oliver Bayldon, an articulate and perceptive writer, whose work has found favour with the BBC, tries to define art and says society must come to terms with it."

Later in 1960, Bayldon was invited by a local furniture store to attend the Furniture Exhibition in Manchester. The store manager was so impressed with Bayldon's comments that he commissioned him to assemble and decorate a living room and bedroom to his individual taste, a project he completed in November. The same month, Bayldon was among the students who plotted a hoax to publicise their year-end Arts Ball, as they began digging trenches in a bogus search for antiquities from an Egyptian mercenary camp site on the demolition plot where the new college was going to be built. After unearthing a medieval wall, bones, and pieces of ancient pottery, they alerted officials of Leicester Museum who became interested, and Bayldon decided to call off the hoax and continue with serious excavations.

In March 1961, he was again awarded £150 in another design contest organised by the Royal Society of Arts industrial art bursaries, this time in the "Stage and Television" section. On the strength of this RSA design award, he won an Arts Council New Designers trainee scheme, which would lead to his appointment as an assistant designer at the Northampton Repertory Theatre. In June, he was elected Fellow of the RSA. In August, Bayldon was one of the college's 39 students graduating with a National Diploma in Design. From August to November, he spent his RSA bursary undertaking a 14-weeks study tour to the United States, travelling through 13 states to study arts and design. On his return, he relayed his experiences in four articles published in the Stamford Mercury on successive Fridays, from 15 December 1961.

Northampton Repertory Theatre (1961–1963)
Shortly after returning from his US study tour in November 1961, 22-year-old Bayldon began a one-year apprenticeship on an Arts Council Scholarship at the Northampton Repertory Theatre, as an assistant to the long-serving regular designer Thomas Osborne Robinson. The design team included John Page, also 22, who had joined Robinson in 1959. In early 1962, Bayldon designed and produced banners for St. Mary's Church, in Glenfield, a village to the west of Leicester.

In September 1962, Page and Bayldon&mdash;who was about to start his second year at the Repertory, now as a designer&mdash;stood in for Robinson when he took a sabbatical to teach at Vanderbilt University until late 1963. They maintained Robinson's high design standards, and Bayldon was credited, for costumes or settings, on the playbills of: Guilty Party and Murder at Quay Cottage (both 1962), Babes in the Wood (1962–1963), The Shiny Surface, Write Me a Murder, and Go Back For Murder (all 1963).

On 23 February 1963, Bayldon launched a month-long exhibition, entitled Costume and Theatre Designs, at the Museum and Art Gallery, Northampton.

BBC Television (1963–1996)
When Bayldon's second year at the Northampton Repertory Theatre came to an end, he joined the BBC Television design department as an assistant designer. By early December 1963, he had already worked on programmes such as Compact, Dr. Finlay's Casebook, and other drama presentations. On 4 December, one of his poems, "A man in a crowd", was broadcast on BBC radio (Midland Region) in the programme Midland Poets. During an interview with the Stamford Mercury on 6 December, he commented on his appointment at the BBC: "Looking back, I think I was very fortunate in getting the right sort of grounding from Mr. Walter Douglas at Stamford School."

On 20 March 1964, another of his poems was read in T. D. Tosswill's programme, Midland Poets, in the BBC Home Service at 9 pm. In December of that year, The Stage announced that Durwell Productions Ltd. were planning a March or April 1965 presentation of a new musical, Cupid & Psyche, with book and lyrics by Glyn Idris Jones and music by Kenny Clayton, and that Bayldon was scheduled to be the designer. He drew up sets and costumes for this show, which was never staged. In March 1965, Bayldon released his first book of verse, The Paper Makers Craft, published by Twelve by Eight Paper Mill & Private Press in Leicester, the only place in England where paper was still made by hand. The collection included his own free translation of a 17th century Latin poem, "Papyrus", by Father Imberdis S.J. of Ambert, the papermaking district of the Auvergne in France.

1963–1972: Quick Before They Catch Us to The Onedin Line
In 1966, Bayldon stage designed four episodes of Quick Before They Catch Us in the BBC television series, which aired in September. He also designed episodes 99 and 100 of The Newcomers, and seven episodes of Meet the Wife. The following year, he designed three episodes each for Thirty-Minute Theatre and Room at the Bottom, and one episode, "Hughie", for Comedy Playhouse (Series 6). In 1968, he designed five episodes for Till Death Us Do Part, three for Beggar My Neighbour, seven for The Railway Children, and one episode on Sir Tyrone Guthrie for An Evening with....

In 1969, he designed one episode, "These Men Are Dangerous: Mussolini", for the Thirty-Minute Theatre programme, three episodes each for The Troubleshooters and Dad's Army, four episodes of The Gnomes of Dulwich&mdash;for which he and his colleague Peter Brachacki had to create giant-size scenery to surround the two garden gnomes portrayed by Terry Scott and Hugh Lloyd&mdash;and three episodes of The Battle of St. George Without. In 1970, Bayldon designed one episode of Not in Front of the Children, four episodes each for Oh Brother! and The Troubleshooters, and two episodes each of Comedy Playhouse (Series 10) and Z-Cars. In 1971, he designed one episode, "Waugh Plays Cops and Robbers", for Thirty-Minute Theatre, and eight more episodes of Z-Cars.

In October 1971, the BBC began broadcasting the first series of The Onedin Line, for which Bayldon had designed six episodes, as well as another six episodes for the second series, aired in 1972. The filming in Exeter and Dartmouth involved many dramatic incidents at sea, for one of which he created a specially constructed steam pinnace, a period steamship complete with a 13-foot high funnel and a large boiler. Other scenes included a storm at sea and a ship on fire. The creation of bustling Victorian markets and docks presented many problems for the designer because any modern additions had either to be removed or hidden. This meant the complete removal of street signs, the covering of shop fronts, and even, on one occasion, the repainting of an entire house façade.

In February 1972, Bayldon was nominated in a short list of four television designers for the BAFTA award of best design of the year for his work on The Onedin Line series. From 25 August to 17 September 1972, he presented illustrations of his set and costumes designs&mdash;including stage sets for Il Trovatore and The Magic Flute&mdash;in an exhibition entitled Stage and Television Designs at the Herbert Art Gallery, Coventry. In February 1973, Bayldon and the entire BBC Design Team were nominated for a second BAFTA Television Design Award for The Onedin Line, presented by HRH The Princess Anne on 28 February. In June, the BBC broadcast one episode, "Three's One", with Bayldon's design for the programme Play for Today, followed, in September and October, by four episodes of The Dragon's Opponent with his designs.

1974–1979: The Liver Birds to The Mill on the Floss
In early 1974, the BBC broadcast four episodes of The Liver Birds, with sets designed by Bayldon. In March and April 1975, BBC2 aired The Fight Against Slavery, a six-part dramatised documentary written by Evan Jones and directed by Christopher Ralling, also featuring designs by Bayldon, as did the television film version of D. H. Lawrence's The Widowing of Mrs. Holroyd, shown the following month. Between October 1975 and January 1976, BBC1 showed the first series of Poldark, based on the novels by Winston Graham and starring Angharad Rees and Robin Ellis, for which Bayldon designed all sixteen episodes. Over fifty sets had to be built for the programme, and a large section of copper mine had to be constructed in the film studios for scenes which occur in later episodes. In late 1976, he produced designs for four episodes in the second series of When the Boat Comes In, for which he was once again nominated for a BAFTA award.

In 1977, Bayldon worked on the Velvet Glove series of dramatised biographies and designed those of Edith Cavell, Elizabeth Fry and the play on Lilian Baylis. In an interview with the Leicester Daily Mercury on 14 March 1977, Bayldon stated: "The research for these is often almost as interesting as the programmes themselves. It was somehow strange to be poring through boxes of Edith Cavell's private possessions or to search through treasured photographs at Lilian Baylis' original desk. The greatest challenge in these plays was to build a complete theatre in the studios, and also to recreate the horrors of Newgate prison in the 1800s." In April 1977, he produced designs for "A Choice of Evils", as part of Play for Today, followed, in October, by "Able's Will", for BBC2 Play of the Week. On 2 October, Gordon Burn interviewed Bayldon in an article for the Sunday Times Magazine entitled "All his own work - Ollie's living room sets the scene for the TV viewers", which explained Bayldon's approach to designing a living room for "Able's Will". In late 1977, Bayldon created designs for all five episodes of the BBC's adaptation of Frederick Marryat's The Children of the New Forest, which aired in November and December.


 * Ref for The Stage; 4 Jan. 1979; p. 16; col.3–4

1980–1997: A Question of Guilt to Wokenwell

 * Ref for Stamford Mercury; 16 May 1980; p. 16; col.2–4


 * Ref for The Stage; 16 Oct. 1980; p. 23; col.4


 * Ref for Stamford Mercury; 17 Dec. 1982; p. 8; col.5–6


 * Ref for Leicester Daily Mercury; 12 Mar. 1990; p. 15; col.1–2


 * Ref for Southall Gazette; 26 Oct. 1990; p. 6; col.7

Writing about The Dark Angel for The Los Angeles Times in March 1991, Ray Loynd wrote: "Don MacPherson's script is wafer-thin, genre period melodrama. But the nightmare is salvaged by O’Toole and production designer Oliver Bayldon's sickly rich decay."


 * Ref for Literature/Film Quarterly; 1992; p. 326–331


 * Ref for The Stage; 25 Feb. 1993; p. 20; col.5


 * Ref for Nottingham Evening Post; 8 Mar. 1993; p. 3; col.4


 * Ref for Middlesex County Times; 12 Mar. 1993; p. 3; col.1


 * Ref for Leicester Chronicle; 15 Sep. 1972; p.14; col.2


 * Ref for Leicester Chronicle; 15 Sep. 1972; p.15; col.2–4


 * Ref for Leicester Chronicle; 15 Sep. 1972; p.25; col.1–4

Royal Academy of Music (1972–1977)
In 1972, Bayldon designed 95 costumes for the Goths and Bulgars in Donizetti's Belisario, which was produced by the Royal Academy of Music on the occasion of its 150th anniversary celebrations and performed at the Sadler’s Wells Theatre, on 8 to 11 March. Five years later, he designed costumes and sets for three short operas produced by the Royal Academy of Music for the Gala Opera Performance organised on the occasion of the opening of the Sir Jack Lyons Theatre on 26 October 1977. These three pieces were: Henry Purcell's The Fairy Queen Act IV: The Masque of the Seasons, Gavin Ewart & John Gardner's Tobermory, and Gilbert & Sullivan's Trial by Jury after an interval. This performance was repeated on 28 and 31 October, and 1 November.

Stage
While at Stamford School in the 1950s, Bayldon designed sets for plays performed at the School Hall:
 * Coriolanus (1953)
 * The Government Inspector (1954)
 * The Boy with a Cart (1955)
 * Henry IV, Part 1 (1955)
 * Charley's Aunt (1956)
 * The Frogs (1957)

In the 1960s, Bayldon designed costumes and sets for the Northampton Repertory Theatre:
 * Guilty Party (1962)
 * Murder at Quay Cottage (1962)
 * Babes in the Wood (1962–1963)
 * The Shiny Surface (1963)
 * Write Me a Murder (1963)
 * Go Back For Murder (1963)

In the 1970s, Bayldon designed costumes and sets for four operas produced by the Royal Academy of Music:
 * Belisario (1972) – costumes only
 * The Fairy Queen Act IV: The Masque of the Seasons (1977) – set only
 * Tobermory (1977) – set and costumes
 * Trial by Jury (1977) – set and costumes

Television
Bayldon was Production Designer for the following television programmes (except where indicated):


 * Quick Before They Catch Us (1966 TV Series) – 4 episodes
 * The Newcomers (1965–1969 TV Series) – 2 episodes (1966)
 * Meet the Wife (1966 TV Series) – 7 episodes
 * Thirty-Minute Theatre (1967–1971 TV Series) – 5 episodes
 * Room at the Bottom (1967 TV Mini Series) – 3 episodes
 * Comedy Playhouse (1967–1970 TV Series) – 3 episodes
 * Till Death Us Do Part (1968 TV Series) – 4 episodes
 * Beggar My Neighbour (1968 TV Series) – 3 episodes
 * The Railway Children (1968 TV Mini Series) – 7 episodes
 * An Evening with... (1968 TV Series) – 1 episode
 * The Troubleshooters (1969–1970 TV Series) – 7 episodes
 * Dad's Army (1969 TV Series) – 3 episodes
 * The Gnomes of Dulwich (1969 TV Series) – 4 episodes
 * The Battle of St. George Without (1969 TV Series) – 3 episodes
 * Not in Front of the Children (1970 TV Series) – 1 episode
 * Oh Brother! (1970 TV Series) – 4 episodes
 * Z Cars (1970–1972 TV Series) – 11 episodes
 * The Onedin Line (1971–1972 TV Series) – 12 episodes
 * Doomwatch (1972 TV Series) – 1 episode
 * Play for Today (1973–1978 TV Series) – 3 episodes
 * The Dragon's Opponent (1973 TV Series) – 4 episodes
 * The Liver Birds (1974 TV Series) – 4 episodes
 * The Fight Against Slavery (1975 TV Mini Series) – 6 episodes
 * Poldark (1975–1976 TV Series) – 16 episodes
 * Widowing of Mrs. Holroyd (1976 TV Movie)
 * When the Boat Comes In (1976–1977 TV Series) – 4 episodes
 * The Velvet Glove (1977 TV Series) – 3 episodes
 * BBC2 Play of the Week (1977 TV Series) – 1 episode
 * The Children of the New Forest (1977 TV Series) – 5 episodes
 * Happy Ever After (1978 TV Series) – 3 episodes
 * The Dancing Princesses (1978 TV Movie)
 * The Mill on the Floss (1978–1979 TV Mini Series) – 8 episodes
 * BBC2 Playhouse (1980–1982 TV Series) – 3 episodes
 * A Question of Guilt (1980–1982 TV Series) – 16 episodes
 * The Merchant of Venice (1980 TV Movie)
 * Stalky & Co. (1982 TV Mini Series) – 6 episodes
 * Objects of Affection (1982 TV Series) – 1 episode
 * The First Part of King Henry VI (1983 TV Movie)
 * The Second Part of King Henry VI (1983 TV Movie)
 * The Third Part of King Henry VI (1983 TV Movie)
 * The Tragedy of Richard III (1983 TV Movie)
 * BBC Play of the Month (1983 TV Series) - 1 episode
 * Strangers and Brothers (1984 TV Series) – 9 episodes
 * Oscar (1985 TV Series) – 3 episodes
 * Big Deal (1985 TV Series) – 1 episode
 * Me and the Girls (1985 TV Movie) – Art Director
 * The Paul Daniels Magic Show (1985 TV Series) – 1 episode
 * ScreenPlay (1986 TV Series) – 2 episodes
 * A Dorothy L. Sayers Mystery (1987 TV Series) – 1 episode
 * An Affair in Mind (1988 TV Movie) – Art Director
 * The Dark Angel (1989 TV Mini Series) – 3 episodes
 * Never Come Back (1990 TV Mini Series) – 3 episodes
 * On the Up (1990 TV Series) – 7 episodes
 * Arena (1990 TV Series) – 1 episode
 * Screen Two (1991–1994 TV Series) – 3 episodes (incl. Memento Mori in 1992)
 * Omnibus (1992 TV Series) – 1 episode
 * Screen One (1992 TV Series) – 1 episode
 * Performance (1991–1998 TV Series) – Art Designer; 1 episode (1993)
 * The Plant (1995 TV Movie)
 * Into the Fire (1996 TV Mini Series) – 3 episodes
 * Wokenwell (1997 TV Series) – 6 episodes

Radio
Bayldon wrote the following short stories, read on the BBC Radio 4 programme, Morning Story:
 * "Moya" (30 September 1987) – Read by Peter Howell
 * "Model Responses New York Style" (1 February 1988) – Read by Shelley Thompson
 * "Introductions a la Mode" (5 December 1988) – Read by Daniel Webb
 * "City Column" (25 January 1989) – Read by Alfred Molina
 * "Away from It All" (8 February 1989) – Read by Joseph Marcell
 * "Sideways Promotion" (12 April 1989) – Read by Geoffrey Whitehead
 * "Home from Home" (16 October 1991) – Read by Seán Barrett

Exhibitions

 * 1959 – Paintings and Stage Designs. Bookshop, King Street, Leicester (August 1959)
 * 1963 – Costume and Theatre Designs. Museum and Art Gallery, Guildhall Road, Northampton (23 February 1963 – 23 March 1963)
 * 1972 – Stage and Television Designs. Herbert Art Gallery, Coventry (25 August 1972 – 17 September 1972)
 * 1995 – Oliver Bayldon at 195. The British Academy of Film & Television Arts, 195 Piccadilly, London W1 (9 October 1995 – 11 November 1995)
 * 1996 – Arts in the Vaults. Royal Society of Arts, 8 John Adam Street, London WC2 (26 April 1996 – 26 July 1996)

Collections
Bayldon’s designs for opera are held in the public collections of the Royal Academy of Music, London. A collection of 45 costume and set designs by Bayldon from the 1970s can also be viewed on the Academy’s website.

Books

 * The Paper Makers Craft (1965)
 * Enigma I (1969) – Collective work, including four poems by Bayldon
 * Acts of Defiance (2013)
 * Darkly Blows the Harmattan: Short Stories (2015)

Articles

 * Four articles about his 14-weeks US study tour (1961); published in the Stamford Mercury
 * Creating a Visual Style (2013); published in The Veteran
 * Filming in Perspective (2014); published in The Veteran
 * Memories: Ealing Studios remembered (2015); published in Prospero
 * Obituaries: John Hurst (2016); published in Prospero

Awards and fellowships

 * Royal Society of Arts / Industrial Art Bursary (1961)
 * Fellow of the Royal Society of Arts (1961)
 * Nominee of BAFTA Television Design Award for The Onedin Line (1972)
 * Nominee of BAFTA Television Design Award for The Onedin Line (1973)
 * Nominee of BAFTA Television Design Award for When the Boat Comes In (1977)
 * Fellow of the Chartered Society of Designers (1986)
 * Winner of RTS Best Production Design (Drama) Award for Never Come Back (1989)
 * Winner of BAFTA Television Craft Design Award for Memento Mori (1993)

Family connections
He is related to the actor Geoffrey Bayldon.

Magazines and newspapers




|last= Cook |first= Hardy M. |title= Jane Howell's BBC First Tetralogy: Theatrical and Televisual Manipulation |date= 1992 |journal= Literature/Film Quarterly |volume= 20 |number= 4 |pages= 326–331 |quote= (...) Taken as a whole, the set acts as a textured backdrop for the play that is filled with many actors and much action. In 2 Henry VI, the set looks darker than it was for Part 1. As Oliver Bayldon, the set designer, notes, "It's still a play park but it's not a place for playing games any more, it's got sinister. It's gone very sombre and textury - it's almost as though it has been boarded up and whitewashed and the whitewash has gone grey" (BBC 2 Henry VI, 20). (...) With so many characters on the set so often, costumes and flags are used to identify factions as well as to distinguish between the British and the French. However, by the time of 3 Henry VI, not much difference exists between the uniforms of the troops on either side of the civil conflict - they are all generally gray, although some of the Lancastrians are costumed in dark reds. On the whole, the costumes have become progressively darker and more practical (Fenwick, BBC 3 Henry VI, 21). John Peacock relates that Howell in Richard III wanted "the effect of three-piece suits." As for the armor in Richard III, it "is all nearly metal, very different from Part I where it was all painted." Also Oliver Bayldon points out that a touch of color was added: "Richard has these very shiny black and white banners, with a fiercely aggressive-looking boar; then when Richmond comes in his banners are green and white" {BBC Richard III, 24). Richard is dressed primarily in black throughout the play; in contrast, Richmond, when he appears, wears shiny silver armor. |publisher= Salisbury University |location= Salisbury, Maryland |jstor= 43796568 |issn= |url= http://www.jstor.org/stable/43796568 |url-access= registration |access-date= 20 November 2023 |via= JSTOR |ref= {{sfnref|Literature/Film Quarterly; 1992}} }}
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