The installation consisted of two rows of delicate metal chains suspended from the ceiling, illuminated by projection of vaulted stones in warm yellow light which gave the chains a depth and form that recalled the grandeur, beauty, and military power of medieval castles.

The projection of the stone gave a sense of solidity, and military and social power. However, this was persistently disturbed by the rustle of the fine suspended chains, or occasionally, completely shattered by the intrusion of a hand from a curious passer-by - or as happened several times during my visit to the Barbican, when observers fully parted the chains like a thin net curtain and walk through to the other side.

The interplay between solidity and transience that the installation materialises is suitable metaphor for the presentation of power in the plays that the piece responds to: from Richard II’s decline from arrogant and conspicuous displays of power, to his pitiful downfall; or the guilty death of Henry IV and the rejuvenation of his line through the super-heroic Henry V.

Another nice touch is the positioning of a throne across the hall, from which occupants could sit and ponder the glowing chains; an opportunity taken as much by navel-gazing theatre goers as giggling and play-acting children.