I know a fair few Shakespeare plays, if not by heart, at least very well, but I’ve never seen King Lear before. Standing in the drama section of Blackwell’s bookshop before the show, trying to cobble together some kind of plot synopsis from a tableful of Arden Shakespeare was hardly my finest hour as a literature graduate (I’m sure I would have had more luck in the Cliff Notes section).
For such a complicated play as this, a synopsis definitely comes in useful! The general premise of King Lear hoping to bestow his fortune onto his three daughters is straightforward enough, but with the introduction of various lords (all with names like Cornwall and Kent), as well as a second mirroring storyline of the Earl of Gloucester and his two sons, it becomes a little more confusing. At first I was nervous about Creation Theatre’s tiny cast of five actors playing all of the different parts with nothing more to distinguish their character than a scarf or hat or coat, but I needn’t have worried. The actors masterfully switch between roles and I am able to follow the narrative perfectly.
Max Gold plays the blustering, frantic King Lear, descending into madness throughout the play as his eldest daughters betray him and he realises his folly in having banished his youngest and dearest daughter, Cordelia. She is played by the talented Lucy Pearson, who also takes on the role of the court fool, an interesting touch of light relief in the heavy narrative, but yet somehow tinged with fatefulness. Pearson also plays the part of Edgar, one of the sons of the Earl of Gloucester who has been accused of plotting against his beloved father and forced to flee from the court. While out in the wilds, Edgar assumes the form of a madman, Old Tom, to avoid being discovered. Pearson shifts from character to character without missing a beat.
Lear’s older daughters, Goneril and Regan, are played by Natasha Rickman. These characters are often on stage simultaneously, and Rickman switches between two shawls to show which one she is at that moment – although with the amount of expression she puts into a curl of the lip or flounce of the hair, one hardly needs these wardrobe cues. Morgan Philpott plays the husbands of each of the three sisters, as well as Edgar’s bastard brother Edmund, who is also having affairs with both of the older sisters. He also switches wardrobes for each of his characters, although some of these are slightly more difficult to distinguish.
Michael Sheldon plays the hapless Gloucester who is tricked by his illegitimate son and betrayed by his erstwhile friends. Gloucester suffers one of the more horrible fates of the play and Sheldon carries his character with pathos and understanding. He also shares with Rickman the role of Kent, who is banished by the King in the first act, but in his loyalty decides to attend the king as a servant rather than leave him.
The play takes place on a raised stage in the centre of Blackwell’s wonderful Norrington Room. With three miles of bookshelves, it’s a lovely space to enjoy a play, surrounded by such a wealth of knowledge and literature. Creation Theatre channels the bookish vibe by using books as some of their very minimal props and to create clever sound effects. The costume design is outstanding, taking the drama outside of a particular time or place and allowing the personal aspect of Shakespeare’s play to take precedence over a more political setting.
I highly recommend this excellent play. It’s on until March 19th and tickets are selling fast, so snap one up quickly. ★★★★☆ @BookingAround 17th February 2016
