Out of the substantial collection of Shakespeare's plays, "Richard II" is not one you'd call a page-turner.

Despite several lovely poetic passages, most of the plot is confined to political posturing and see-sawing and — while there is some belated cowardly dagger work — real fight scenes are aborted in favor of shouting and littering the stage with gloves thrown down in challenge.

While it could generate a big picture — the production directed by Harry Wong III crowds the stage with a cast of 15 — the real action consists of two opposing character arcs. King Richard's fortunes fall from a series of bad decisions, while Henry Bolingbroke's (later to be King Henry IV) rise, supported by his innate personal leadership and popular appeal.

In Hawaii Shakespeare Festival tradition, one production each year features an all-women cast. That convention is easily absorbed in "Richard II," where cerebral argument is more featured than swordplay. But since character subtext isn't expressly provided by Shakespearean poetry, there are pieces missing from both central performances.

Katherine Aumer-Ryan takes on the complex chore of providing personal motive behind the actions of the unfortunate king. She presents him first as a confidant leader who manages his court with a secure smile and a wide streak of noble entitlement, even after his alienated subjects begin to openly grumble.

But when the exiled Henry gathers troops to reclaim his birthright, Richard melts rather quickly, offering his crown before it is taken from him and descending into self-pity, "let us sit upon the ground and tell sad stories of the death of kings." He rushes to his fate almost eagerly: "my large kingdom for a little grave. A little, little grave, an obscure grave."

Henry, on the other hand, is driven by the righteousness of someone unjustly wronged. Articulately played by festival veteran Elizabeth Wolfe with stiff-backed resoluteness and an uncertain scowl, Henry seems reluctantly thrust into accepting the crown, as if to foreshadow serious consequences.

Some scholars suggest that the primary purpose of "Richard II" was to lay the groundwork for Shakespeare's later "Henry plays."

In supporting roles, Peggy Ann Siegmund turns in a solid John of Gaunt and Danielle Vivarttas-Ahrnsbrak is diverting as Richard's young and impetuous French queen. The remaining cast has erratic success with the language.

For those looking for prep information, University of Hawai'i Professor Brenda Machosky will explain it all to you in 30 minutes (see sidebar for lecture schedule.) Lastly, don't subject young children to this play. Save that for "The Merry Wives of Windsor" later this summer.