Fresh from my dissertation hibernation on Friday, I emerged to see Titas Halder’s King Lear at the Crucible. It’s a minimalist staging with almost all the action taking place within a small ring centre-stage. The evocation of a wrestling ring sets the mood beautifully, reflecting the tensions continuously simmering within Shakespeare’s tragedy.
Many actors have struggled in the portrayal of Lear – perhaps Shakespeare’s most emotionally demanding role. It’s difficult to pace Lear’s mental degeneration without this seeming too sudden and easy for this to come across as hammy. Returning to the role of Lear at the Crucible after a 2005 production, Ian McDiarmid avoids such pitfalls and proves a wonderful Lear. A veteran Shakespearean, McDiarmid makes great use of vocality and breathes new life into the most famous passages of the play. Lear’s famous ‘Blow, winds and crack your cheeks’ monologue is a highlight and masterfully delivered by McDiarmid who manages to remain the centre of attention despite impressive special effects. He is also skilled at bringing out the humour within the role – emphasising Lear’s bathetic vulnerability – which is complemented through his strong partnership with the Fool (Max Revell).
I’m rarely a fan of Shakespeare’s clowns particularly within the tragedies where they can easily upset the tonal balance. This is not entirely Shakespeare’s fault but partly due to the 2013 killer clown rampage having left an indelible impression. The Fool, however, is one of the production’s strengths. First appearing as a swaggering roadman in tracksuit and trainers, the Fool’s physicality is very much considered within this production as he moves balletically across the stage like a serpent. This characterisation is a bold choice by Halder. The Fool is frequently played by an actor a similar age to Lear (Revell is several decades younger than McDiarmid). He is often played as a jaded cynic but Revell – who has amazingly not acted before but trained at dance school – adeptly navigates the character’s comic and tragic aspects and is a perfect double for Lear.
This production is fast-paced, as King Lear should be, however, at times this does feel like some iconic moments are slightly rushed. The first few minutes featuring Cordelia’s and Kent’s banishment – integral moments within the play – I suspect could be confusing for those not previously familiar with the play. The tension of Gloucester’s blinding scene could be heightened from drawing the scene out. I also wondered about the costuming choices within the production. Whilst the dress was mostly reflective of Shakespeare’s time of writing, this was mixed in with some modern items of clothing. Edgar, for example, wore Jacobean clothing but also trainers. Whilst I think this worked brilliantly for the Fool whose modern dress marks him as an outsider, the purpose of this for the other characters wasn’t clear. To reflect the play’s timelessness, perhaps? These are minor issues, however, within an incredible production.
Rating: ★★★★☆
Image Credits – Johan Persson
