|
|
|
|
|
Natalie Simpson, as Cordelia, Antony Sher as King Lear and Antony Byrne as Kent. Pictures: Ellie Kurttz King Lear
Royal Shakespeare Company
Stratford-upon-Avon
***** SHAKESPEARE wrote his Lear at a time of
England’s unrest with plague and diseases spreading at an alarming rate
and this is reflected within his words. King Lear is about the frailty of one’s own
strength and power. Now an aging king, Lear looks to divide his kingdom
between his three daughters. The condition of the dowry is that each
daughter must tell how much they love and honour him. As Cordelia, played by Exploring the question of what the physical madness of Lear represents, Doran does well to point to the fact that there is an end to his delirium. There was a heavy connotation of exhaustion being the true point of Lear’s downfall, and that is a trait of which some of us might know from first hand. In the parallel of Brexit, Lear is an interesting
play to watch in light of a country divided. Just as we have seen in
modern politics, Lear also has a divided house and Doran is not afraid
to show the bloody results. He has set this Lear within its original time of
the early 17th century. In today’s world, greediness and excess are seen
in every walk of life as we constantly read in news articles within
money scandals and expenses to name a few. Lear is a man who is
constantly wanting for more but fails to recognise what he already has.
It is the reflection of deeply flawed human qualities that give the play
an endurance that allows it to be timeless. Sher’s Lear is totally fitting to the role. After
playing the fool in Adrian Noble’s 1982 production, he has now turned to
the part of the king. Sher has everything to offer and it is clear that
there must have been extensive conversations between Doran and himself
to unearth the essence of the spoilt man. First of all, his very presence on stage is regal
enough to imagine no other person in the role; when he enters for the
first time, he is carried by many of his servants in a clear boxed
carriage. Doran also brings in the concept that Lear
possesses wizard like qualities, making him more than just a king while
Sher shouts up to the heavens and laments as he throws curses out to his
daughters and all who disagree with him. He has the perfect balance between a stern king and the vulnerable old man he becomes in the second half of the play and Sher does well to humanise the downfall of Lear and giving the madness a beautiful understanding of Lear’s journey and evoking waves of sympathy from the audience. Sher has mastered the two extremes of his character with excellent light which brings a new meaning to the conclusion of the play. Like most situations, there is always more than
one villain. In this production, Regan is portrayed with a salt
David Troughton is quite superb as the Earl of Gloucester, tortured and blinded, seen here with Oliver Johnstone as Edgar/Poor Tom Ragan not only instigated the plan, but
worse, enjoyed his torture. Everything was seen and there were gasps
echoing from the auditorium as the scene unfolded. Williams has also built a lovely bond with Nia
Gwynne who plays sister Goneril, but it is Regan who is the real
reflection of the wrath of her father. Niki Turner’s design is also superb, keeping a
simple and open set, but capturing the imagination of the audience with
flashes of light. The play is set in various places, including Lear’s
many palaces and the fields of Dover, and the storm scene is just epic. Turner’s eye for costume leaves a very impressive
stamp to the regal presence of Lear which leaves us under no illusion
that we are under the thumb of a superior king The sub-plot of Gloucester and his sons Edmund,
played by Paapa Essiedu, and Edgar was also given full attention by
Doran. The relationship of the father and son was touching, even in the
face of tragedy. Oliver Johnstone, who played Edgar was fantastic and
ended the play with a strong soliloquy overflowing with emotion. With a strong cast and a director with a genius
mind, Doran’s Lear is magical. It has the power to frighten, excite the
mind and provokes great empathy towards humanity. This is a version that
will be etched in RSC history. To 15-10-16 at Stratford then at the
Barbican, London from 10-11-16 to 23-12-16. Elizabeth Halpin 05-11-16 There is a live screening of King Lear from the RSC stage in Stratford-upon-Avon on Wednesday, October 12 where it can be seen in cinemas throughout the Midlands. For a full list click HERE.
|
|
|
|
Natalie Simpson, his most beloved daughter refuses to declare her love
in public, a fit of rage engulfs him and we see the consequences
unfolding in a production directed by Gregory Doran and with Anthony
Sher in the eponymous role.
to
sting all wounds. Kelly Williams’ portrayal drips with fear. In the most
harrowing moment of the play, the torture of Gloucester, played or
perhaps more endured by David Troughton, sees a clear glass box used to
amplify the moment and manipulate each voice and sound into a new
experience.