Enter Lord Marshal and the Duke Aumerle

LORD MARSHAL        My lord Aumerle, is Harry Hereford armed?

AUMERLE                   Yea, at all points, and longs to enter in.

LORD MARSHAL        The Duke of Norfolk, sprightfully and bold,

Stays but the summons of the appellant’s trumpet.

AUMERLE                   Why then, the champions are prepared and stay

For nothing but his majesty’s approach.

The trumpets sound and [Richard] enters with his nobles, Gaunt, Bushy, Bagot, Green and others. When they are set, enter Mowbray, the Duke of Norfolk, in arms, defendant, [with a] herald.             (1.3.1-6SD)

The writing here is theatrically astute and entirely practical. Gaunt, perhaps, has to modify his costume (a hat? a chain or collar or office?) and prepare to re-enter through another door. The procession is large and quite possibly comes through the central entrance; there will probably be a dais, a throne (which could still be there from 1.1, although that could pose difficulties for the procession), a canopy of state, or even some suggestion of a pavilion. There will be seats for the two combatants, and they might have pavilions too. Beginning the scene with only two speakers gives just a little extra time (and that is part of the dramaturgical purpose of the previous scene with Gaunt and the Duchess too), allowing time for Mowbray and Bolingbroke to arm, not a speedy process, heraldic paraphernalia to be assembled (there will be banners) and perhaps even an evocation of the lists, with a barrier dividing the stage across its width, as well as the procession to form up. If they’re not quite ready, the Lord Marshal and Aumerle could even continue to ad lib; more likely, a longer fanfare would be played.

So the scene has shifted to Coventry, upon St Lambert’s Day, and Bolingbroke and Mowbray are ready to fight it out, in formal judicial combat. The Lord Marshal is in charge of the arrangements; Aumerle, here speaking for the first time, is Bolingbroke’s cousin (and Richard’s too, therefore); he’s the son of the Duke of York. He seems to be acting as Bolingbroke’s second or representative here, affirming that not only is Bolingbroke, Harry Hereford, armed at all points, from top to toe, completely, but also that he longs to enter in: he’s ready for the fight and wants to get on with it. Mowbray, Duke of Norfolk, is ready too, sprightfully and bold (the impression is of two fighters, bouncing on their toes, full of pent-up energy, only awaiting the signal to begin). But there will be formalities to observe: Mowbray, as defendant, must be summoned by the appellant’s trumpet, that is, Bolingbroke’s, and both of the combatants must await the arrival of the King.

The King appears, with his nobles (the Folio specifies Bushy, Bagot and Green, and others, as well as Gaunt), and the Queen is probably present too, which suggests an attendant woman or two in addition. (Bushy, Bagot and Green don’t speak in the scene, but there’s scope for silent action, and their presence is important: a potential contrast with the chivalric formalities, if they are indifferent or mocking, an important opportunity for setting up the nature of Richard’s relationship with the men who will be established as his closest friends and favourites.) Whatever, there needs to be as good a crowd as possible. Once the court is in place, it’s Mowbray’s entrance, in arms, probably from one of the side doors. What he’s armed with will depend on the production’s design and resources: in a more traditional show, some armour will most likely appear, at least a breastplate over mail, possibly leg armour too, although he will probably carry any helmet (which could be elaborately plumed, in the Elizabethan rather than the medieval fashion), and he will wear his sword belted at his side. He might wear a surcoat with his coat of arms. His herald will wear a tabard with Mowbray’s coat of arms too. This is a long, tense scene…