Review: King Lear

May 9 2008 Philip Fisher, Western Mail

Shakespeare’s Globe, London

KING Lears do not come much funnier or faster than this opening production of the Globe’s summer season.

After a couple of years in the job, the theatre’s artistic director, Dominic Dromgoole, knows his audiences and has come up with an ideal adaptation of this play for the open-air riverside venue.

Initially, Dromgoole may challenge the many visitors that do not know the story, as he has done away with most of the early speeches, thereby reducing the running time to a little under 3¼ hours.

This does not help with character and plot development and unfortunately reduces poor Jodie McNee’s pale Cordelia to a bit part.

Soon enough though, we are into Shakespeare’s story of a King brought low by his own foolish deeds in dividing and giving away his kingdom. Any contemporary equivalent who sees this play will immediately give up the Inheritance Tax planning and keep the children well away from the estate until after their demise.

Dromgoole offers a fascinating, modern psychological reading of this play. David Calder’s vulnerable Lear is first seen as an excessively proud man who cannot imagine that he will not always get his own way.

As his elder daughters reject him, he is disbelieving and rather than going mad, gradually withdraws into himself, enduring a breakdown because he cannot face his future and the fruits of his own folly.

He is supported in adversity by two funny men, Paul Copley’s bluff, efficiently loyal Kent and a suitably offensive Fool. Danny Lee Wynter makes this man unbelievably camp but also akin to a mischievous inner voice for Lear.

Running in parallel is the story of Gloucester, played by Joseph Mydell, and his two sons, who seem to come from a little further west than father, but have nothing in common except Welsh accents.

Trystan Gravelle is superb as Edgar, the good son. He is a wimp, chased out of town by his wicked, illegitimate brother Edmund (Daniel Hawksford). Edgar becomes “Poor Tom”, a madman, though on this occasion clearly feigning, coming back to his senses when needed by his father or King. That is as well, after the ineffectual Gloucester is horribly blinded, drawing audible gasps from the pit.

The setting is spot on. Jonathan Fensom’s design is simple but allows the audience to get involved, with a small stage extension thrusting into the groundlings, some of whom practically had to duck when the Welsh brothers launched into a thrilling sword fight.

The music from Claire van Kampen was, like the costumes, traditional, creating an impression that one was enjoying the true Jacobean experience, with Claire McIntyre starring on an assortment of outlandish wind instruments including the Carnyx and Lur; and ballad-singer, Pamela Hay particularly impressive.

The star of the night is David Calder who, by steering clear of the usual bluster, makes King Lear a real human being, prone to pride and misplaced trust like the rest of us.

Later, after lengthy evasion of regal responsibilities, this “very foolish, fond old man” is forced to face his fate head on and does so manfully but with great gentleness.

Of the remaining actors, Sally Bretton as a spiteful, strong-willed Goneril and Peter Hamilton Dyer, playing her evil brother-in-law Cornwall, made the strongest impressions.

For many, who might only visit the Globe (or see Shakespeare) once in their lifetimes, this will prove a delight.

Who knows, they might even return for another visit during a season that also features A Midsummer Night’s Dream, The Merry Wives of Windsor, Timon of Athens and a couple of modern plays.

The show runs until August 17.

4/5