King Lear

Synopsis

King Lear divides his Kingdom between his daughters according to a declaration of their love for him. His eldest Goneril and Regan exaggerate their affection and inherit. His youngest daughter Cordelia speaks only the truth and is banished. So begins the tragedy of King Lear, whose dignity, sanity and finally life are torn from him by a self-seeking younger generation, ambitious for his power. What is love, what is madness, what is truth - Shakespeare explores these questions together with many others in King Lear, widely considered to be his greatest tragedy.

Our Review:

29 November 2007

Tickets for Ian McKellen’s Lear are changing hands for inordinate sums on ebay. Pay whatever you must. This is a performance not to be missed.

The stage at the New London Theatre mimics the thrust of the Courtyard in Stratford, where this production began. A background of seedy opulence, perhaps a theatre, perhaps a palace in decline, lowers over Christopher Oram’s Russian-flavoured design. This sense of the end of an Imperial era might be caught from the play in repertoire with this King Lear - Chekhov’s The Seagull - but it is not too insistently pursued.

The first thing to be said about Trevor Nunn’s production for the Royal Shakespeare Company is that it is the clearest version of this play I have ever seen; the director has put all his energy into revealing rather than decorating the text. The result is an emotional journey of extraordinary power. We are spared nothing; even the hanging of Lear’s Fool ([Sylveste...

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Latest User Review

JMG - 9 January 2008:

I woke up this morning a little bit annoyed. Last night I went to see King Lear. Ok, ok..Mr.McKellan's "Lear" swooped and soared, but it seemed to lack the gravitas it deserved, maybe even the physical presence. It was a detailed and layered performance that, I am sure, would have been rewarded and appreciated greater in a more intimate venue. However, the reason for my annoyance was that his efforts were let down very badly by his supporting cast. Most notably Philip Winchester's hammy, rushed and self-indulgent interpretation of “Edmund” - about as sinister as Lionel Blair with a water pistol! How on earth he got the part I do not know. I guessed it was for a bigger role in The Seagull - No! I am thinking recent stints in Hollywood movies such as "Thunderbirds" and more recently "Flyboys" opened the doors. Come on RSC, don’t go down that road. By "Now Gods, stand up for bastards" it was on the floor! Other performances also left a lot to be desired - Francis Barber was having a signature w*** through the play as "Goneril". It was a demonstration from start to finish. And sadly Ramola Garai's (wonderful in "Inside I am dancing") “Cordelia” was over-acted and lacked any great truth. Trevor Nunn has to take a lot of the blame for this. Also, the set was mediocre and uninspiring. Thankfully the quality of acting increased when characters such as "Gloucester"- a wonderful William Gaunt and Guy Williams' brutal and unforgiving "Cornwall" took stage. A support to bolster up Mr.McKellan's performance would have painted a different picture. And also would have put me be in a better mood writing this today....

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