Hope Mill Theatre, Manchester
Guest reviewer: Ciaran Ward
PurpleCoat Productions’ interpretation of William Shakespeare’s infamous tragedy, King Lear, has asserted itself as a befitting homage to the playwright’s life and career in wake of the 400th anniversary of his death back in April. The emotional turmoil inherent in the many of the play’s round characters is emphasised through the skilled creative direction of Karl Falconer: a single set compounds the intense feeling and impending sense of enclosure experience by all, be that by death, imprisonment or loss.
Through the evident proficiency of the actors, the despair of Lear (Paul Carmichael) over his deteriorating authority, the anguish of Edmund (Stephen Michael Turner) from being the bastard son of the nobleman Gloucester (Karl Falconer) and, in turn, his own worries of being guilty of treason after aiding the King in escaping the wrath of his vengeful daughters (Natasha Ryan and Evangeline Murphy King) is greatly achieved, making for a riveting piece of theatre which stirs a desire for more than a three hour show.
Given the immersive nature of the performance, the audience began engaging with the drama from the exposition. Immediately, your sight informs you that the characters are dressed in modern attire but your hearing confuses you when you realise they are speaking the traditional lines that were crafted by the Bard himself. The anachronism, in itself, complements Lear’s descent into madness, but is also suggestive of the fact that the themes of human cruelty and justice are just as relevant today as they were in the Renaissance era.
The technical aspects of the play effectively contribute to the various atmospheres produced throughout, with the highly commendable lighting and sound effects being offered by Alisha Johnson and Mel Wells. Scenes of sinister plotting are aided by the stark reduction of light; a paradoxical approach to how you would generally discover a character’s ‘true colours’. Moments of truth and reconciliation, however, are embellished with mellow lighting, superficially indicating a sense of ease and tranquillity, before the tragic events in the dénouement become apparent.
Considering that this showing in Manchester is the last stop of the PurpleCoat Productions’ UK and Ireland Tour, it is impressive that the quality and high standards of the cast and crew have been so well preserved throughout the show’s run. Every aspect of the production, from the incongruous costuming to the raw talents of the actors dealing with such an acclaimed piece of drama, engenders it to be a mesmerising performance that enchants any Shakespeare fan, young or old.
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