King Lear

Many consider King Lear to be one of the finest plays in existence. With its rich characters, epic plot and quotes that have permeated the modern lexicon, it is easy to see why many theatre companies and artists have frequently taken on this difficult play.

This current production, part of this year’s Bard in the Botanics season, is mostly quite successful. It has a solid ensemble that turns in some noble performances and inspired direction by artistic director Gordon Barr that uses its site-specific location well.

To those not in the know, the play follows the consequences of a publicity stunt gone wrong. The king has gathered his three daughters together in court to have them proclaim their love for him, all as a ruse to justify the division of his kingdom. When his beloved youngest daughter refuses to play along, Lear falls into a rage that brings forth tragedy and destruction.

From an acting point of view, Lear is a dream production to be cast in. Even the small roles are fantastic and offer ample opportunities for excellent performances. And there are indeed some great performances to be had in this production, including Stephen Clyde’s underplayed Kent, Kirk Bage’s Edgar and Beth Marshall’s Goneril. But while there isn’t one bad performance to be found, there are some that don’t feel as rich or full as they could be.

This isn’t the case with Barr’s direction. He cleverly uses the space well, utilising walkways and trees into the action. He also keeps the pace brisk and has made some interesting edits that lead to different interpretations of some key characters, which may actually stir up a bit of a debate among those familiar with the text.

This may not be the best King Lear of recent years, but with some great performances and direction, it is still more than competent and certainly worth a look, especially on a warm evening.