KING LEAR – Chichester

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Chichester Festival Theatre – until 28 October 2017

“He hath always but slightly, known himself”… As I wrote when the full cast was first announced, “the world is hardly crying for more productions of King Lear, but if you’re going to put it on, you might as well go balls out on some amazing casting”.

And now that the time has come to trek over to Chichester Festival Theatre to catch Ian McKellen revisiting a role he has already been most renowned for playing, you’re left in awe once again at the luxuries casting director Anne McNulty has brought to bear in Jonathan Munby’s modern-dress and modern-spirited production.

Chief among them is Sinéad Cusack‘s Kent. It’s a casting decision that deserves the emphasis for Chichester has long been a venue where female representation has struggled across the board and though it is still early days yet for Daniel Evans‘ tenure here, any steps are welcome. Tamara Lawrance as Cordelia is another example and a powerful contrast too. Where Cusack brings all her experience to bear as a superbly nuanced Kent (whose disguising gains real resonance), Lawrance brings a freshness of spirit to her most compassionate reading of Lear’s youngest daughter.

Dervla Kirwan and the superlative Kirsty Bushell once again make me wish that the play were in fact called Goneril and Regan, such is the biting glee of the latter’s vindictiveness, set against the chilling froideur of the former who clearly sees herself entirely as a queen-in-waiting. Jonathan Bailey‘s troubled Edgar and Damien Molony’s manipulative Edmund pique all sorts of interests and I was also impressed with Michael Matus’s vivid take on Oswald.

And at the heart of them all, and truly a part of an ensemble rather than its leading light, is McKellen’s breathtaking take on Lear. A role he has played before, a play he has acted in several times, there’s a clear sense of him relishing the (relative) intimacy of the Minerva as he inhabits every breath of the mental fragility afflicting his monarch. As carpet turns to chalk, crowns to knotted handkerchiefs, you feel every year of Lear’s (and McKellen’s) age as his disintegration leads to belated insight. Tremendous and tragic, thoughtful and thorough, a profoundly excellent piece of theatre.
Running time: 3 hours 20 minutes (with interval)Photos: Manuel HarlanBooking until 28th October

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Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."
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Ian Foster on FacebookIan Foster on RssIan Foster on Twitter
Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."

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