King Lear

‘King Lear’ by William Shakespeare is often considered one of the paramount works in literature. This stage adaptation by Jack Teiwes celebrates the 20th Anniversary of the Bell Shakespeare Company. This three-hour drama is presented by Perth Theatre Trust and His Majesty’s Theatre and performed at His Majesty’s Theatre, 825 Hay Street, Perth nightly at 7.30 pm, until the 26^th June.

         As a musical box plays, the curtain rises to reveal a musical box top, with figures rotating on the lid. They are King Lear (John Bell) and his family. He is about to abdicate, and now in his twilight years, this powerful and esteemed King has decided to divide his assets between his three daughters. The child who loves him most will gain the largest share. Young Cordelia (Susan Prior), his favourite, has trouble expressing herself, however the jealous vultures, Goneril (Jane Montgomery Griffiths) and Regan (Rachel Gordon), will do any grovelling required to grab the rewards.

        Livid, and with his self-esteem draining rapidly away, Lear disowns Cordelia. He calls for offers of marriage and the Duke of Burgundy (Justin Stewart Cotta) responds, but on hearing there is no dowry only the King of France (Keith Agius) will accept Cordelia. Lear then, despite begging from Cordelia’s friend, the Earl of Kent (Peter Kowitz), maliciously banishes her to France.

        Meanwhile, the Earl of Gloucester (Bruce Myles) is also having children trouble. His illegitimate son Edmond (Tim Walter) is feeding his father lies about his brother Edgar (Josh McConville - excellent) to ensure that he will inherit all of the Earl’s money. Gloucester tells unfortunate Edgar to leave the family home without a penny.

        Heartlessly maltreated by the two elder daughters, who have sucked him dry, Lear watches as his dominion slides into chaos. Lear is left destitute, never the less, he finds the power to rebuke Goneril. She is furious and, via the pompous messenger, Oswald (Yalin Ozucelik), writes to her sister to get her onside. Lear’s Fool (Peter Carroll – magnificent) warns him of some of the troubles that are building up ahead, but they are totally unheeded by the King.

        With arrogance and conceit still clouding his vision, Lear along with his Fool, aimlessly drift across snow covered, wind-blasted moors. There he meets a ‘naked’ figure, Poor Tom – Edgar in disguise. Lear suddenly realises what suffering is all about and helps Tom.

        The two elder daughters, along with their husbands The Duke of Albany (Paul English) and the Duke of Cornwall (Anthony Phelan) now go after, and viciously attack, the Earl of Gloucester.

         Will Lear learn the foolishness of playing favourites with his children, and not recognising genuine, loyal love? Will Edgar be in time to save his father? As always with Shakespeare – who will be left standing at the end?

John Bell has over twenty years brought Shakespeare to the masses. Gone are the over dramatic interpretations and egotistical vehicles for prima donnas. He has brought a style of delivery that the average person in the street can enjoy. Some may find his performance of Lear as too bland, but it is natural. Three hours of heavy handed drama would have killed all interest; instead the audience were treated to a fascinating, inside look at two noble families.

Some may find this play lacking excitement, but I feel that Bell – especially in the second act where Lear’s madness comes to the fore - and his director have truly captured the dynamism of emotions in the script.

The costumes are a chronological mix of period gowns and fur trimmed cloak, blended with modern leather jackets and skivvies, which seemed to work well – but why the era mix?.

The set lacked lustre, I am all for minimalism, but a plain and unimaginatively lit cyc, no set and no props – other than a revolve - I found dull and lazy. The lighting was also simple and not very exciting.

On the edge of the wings, in full view, was a large collection of percussion instruments which actually became part of the actors’ action. Whilst Bree van Reyk’s music was exciting and effective for this genre of play, in the first act – even though subtle - at times I found the constant background music distracting.

Prolific director, Marion Potts, kept the pace, energy and interest going by overlapping some of the scenes. The play was divided into two parts, the first approximately 90 minutes and the second, by far the better part, was 70 minutes. The whole, very capable cast had an excellent grasp of the drama and despite the length of the production, the time flew by. Their crisp enunciation and use of their bodies complemented the dialogue. A wonderful introduction to Shakespeare’s dazzling storylines for the school students present. Most enjoyable, a special night at the theatre.