The RSC's King Lear, at the Brooklyn Academy of Music
It was amazing. No, I am not surprised, and neither, I imagine, is anyone else. What I was surprised about, however, was how flawlessly Ian Mckellen's performance fit into what was, in fact, a wonderful ensemble show. The New York Times was unjustified in praising Ian Mckellen's performance but calling the rest of the show 'spotty'. No, this was a wonderful production of King Lear in almost every concievable way.
When I first walked into the theater, I wasn't sure how I felt about the sets, which were grand, with sumptous red velvet hung about. But, as the show went on, and the set became more and more stripped down, the velvet ripped away, the ceiling cracking open, it worked perfectly, almost seeming to be a landscape of Lear's mind.
The costumes were gorgeous, especially the sisters', which seemed to highlight the similarities and differences between them wonderfully. It seemed to be set in the early 19th century, but, as that didn't influence the production substantially other than giving it gorgeous costumes, I don't have much to say about that fact.
As Goneril, I saw Frances Barber's understudy, Melanie Jossop, and was very impressed. When I saw King Lear at La Mama last year, the Goneril I saw was atrocious, and so finally seeing someone play the role well was wonderful. She was regal and detached, cold and graceful. She was a strong presence in every scene she was a part of, and her lack of connection to Albany was visible even in the first scene, and her later attraction to Edmund felt wonderfully believable. She reminded me a lot of Morgause, which is a very good thing.
Julian Harries played Albany, and did so very well, speaking with conviction in the second half of the show. His earlier quiet gentleness changed effectively and believably to his strength and resolve near the end of the play.
I loved Monica Dolan's Regan, though I still have a soft spot for the Regan I saw at La Mama. She was much less restrained than Goneril, which is as it should be, and she kept drinking throughout nearly all the scenes. She and Cornwall (Guy Williams) were very affectionate with one another, her often staying close to him and looking to him for reassurance, which was adorable. Cornwall/Regan is my Shakespeare OTP (aside from Beatrice/Benedick, of course), so their interactions induced much glee on my part. Cornwall's death wasn't quite as sad as it was at La Mama, but one can't have everything.
Romola Garai as Cordelia was...interesting. She was very girlish, without much strength or conviction, which was an interesting character choice, but I thought that more time needed to be spent establishing her relationship with Lear at the beginning, because there seemed to be very little real affection between them, which diminshed things quite a lot.
Philip Winchester's Edmund was...all right. He was nicely charming and genuine-sounding when he was convincing everyone around him that they had been betrayed by one another, but his soliliquies sort of fell flat. I think I would have directed him a little differently if I had been directing this production.
On the other hand, Ben Meyjes was an absolutely wonderful Edgar, switching perfectly between his various disguises, and, as someone sitting near me said, holding up very well in comparison to Edmund. In fact, I think this is the only production I can imagine in which Edgar is more interesting than Edmund. I particularly liked his interactions with Edmund, which were realistically brotherly. And his interactions with Gloucester were heartbreaking.
William Gaunt was a good Gloucester, but, as I really having nothing to say about this character, I don't have anything to say about him either.
I really liked Jonathan Hyde's Kent, who was realistic and subtle. There was a gorgeous moment at the end when he, without melodramatics or angst, picked up a gun and then went offstage to go on his 'journey'. It was touching, and perfect for that moment.
Sylvester McCoy as the Fool was fine, but seemed to be...lacking something. An emotional resonance, perhaps. I also sort of wanted him to be younger, but I just like the Fool as younger. However, after his onstage hanging immediately before intermission and the several minutes that he just hung there, it's impossible to not be impressed with him.
I really liked John Heffernan's Oswald, who was suitably sympathetic and detestable. For some reason, he really stood out to me.
Peter Hinton and Ben Addis as the Dukes of Burgandy and France, respectively, did some interesting things with their dynamics with Cordelia, but, as you didn't see them after the first scene, there wasn't much room for them to expand on that.
Ian Mckellen as King Lear was perfect. Really, I'm not sure what else I can say, as describing how meticulous and subtle and perfect his descent into madness was would be redundant, and take pages and pages. Simply believe me when I say that he was as perfect a Lear as I can imagine, and any other production of the play I may see after this will pale in comparison.
When I first walked into the theater, I wasn't sure how I felt about the sets, which were grand, with sumptous red velvet hung about. But, as the show went on, and the set became more and more stripped down, the velvet ripped away, the ceiling cracking open, it worked perfectly, almost seeming to be a landscape of Lear's mind.
The costumes were gorgeous, especially the sisters', which seemed to highlight the similarities and differences between them wonderfully. It seemed to be set in the early 19th century, but, as that didn't influence the production substantially other than giving it gorgeous costumes, I don't have much to say about that fact.
As Goneril, I saw Frances Barber's understudy, Melanie Jossop, and was very impressed. When I saw King Lear at La Mama last year, the Goneril I saw was atrocious, and so finally seeing someone play the role well was wonderful. She was regal and detached, cold and graceful. She was a strong presence in every scene she was a part of, and her lack of connection to Albany was visible even in the first scene, and her later attraction to Edmund felt wonderfully believable. She reminded me a lot of Morgause, which is a very good thing.
Julian Harries played Albany, and did so very well, speaking with conviction in the second half of the show. His earlier quiet gentleness changed effectively and believably to his strength and resolve near the end of the play.
I loved Monica Dolan's Regan, though I still have a soft spot for the Regan I saw at La Mama. She was much less restrained than Goneril, which is as it should be, and she kept drinking throughout nearly all the scenes. She and Cornwall (Guy Williams) were very affectionate with one another, her often staying close to him and looking to him for reassurance, which was adorable. Cornwall/Regan is my Shakespeare OTP (aside from Beatrice/Benedick, of course), so their interactions induced much glee on my part. Cornwall's death wasn't quite as sad as it was at La Mama, but one can't have everything.
Romola Garai as Cordelia was...interesting. She was very girlish, without much strength or conviction, which was an interesting character choice, but I thought that more time needed to be spent establishing her relationship with Lear at the beginning, because there seemed to be very little real affection between them, which diminshed things quite a lot.
Philip Winchester's Edmund was...all right. He was nicely charming and genuine-sounding when he was convincing everyone around him that they had been betrayed by one another, but his soliliquies sort of fell flat. I think I would have directed him a little differently if I had been directing this production.
On the other hand, Ben Meyjes was an absolutely wonderful Edgar, switching perfectly between his various disguises, and, as someone sitting near me said, holding up very well in comparison to Edmund. In fact, I think this is the only production I can imagine in which Edgar is more interesting than Edmund. I particularly liked his interactions with Edmund, which were realistically brotherly. And his interactions with Gloucester were heartbreaking.
William Gaunt was a good Gloucester, but, as I really having nothing to say about this character, I don't have anything to say about him either.
I really liked Jonathan Hyde's Kent, who was realistic and subtle. There was a gorgeous moment at the end when he, without melodramatics or angst, picked up a gun and then went offstage to go on his 'journey'. It was touching, and perfect for that moment.
Sylvester McCoy as the Fool was fine, but seemed to be...lacking something. An emotional resonance, perhaps. I also sort of wanted him to be younger, but I just like the Fool as younger. However, after his onstage hanging immediately before intermission and the several minutes that he just hung there, it's impossible to not be impressed with him.
I really liked John Heffernan's Oswald, who was suitably sympathetic and detestable. For some reason, he really stood out to me.
Peter Hinton and Ben Addis as the Dukes of Burgandy and France, respectively, did some interesting things with their dynamics with Cordelia, but, as you didn't see them after the first scene, there wasn't much room for them to expand on that.
Ian Mckellen as King Lear was perfect. Really, I'm not sure what else I can say, as describing how meticulous and subtle and perfect his descent into madness was would be redundant, and take pages and pages. Simply believe me when I say that he was as perfect a Lear as I can imagine, and any other production of the play I may see after this will pale in comparison.