LUCID, PERCEPTIVE AND STIMULATING PRODUCTION OF A GREAT CLASSIC

Theatreview.org.nz

Reviewed by John Smythe at Te Whaea August 4 2007

For a moment the sound of John Lennon warbling A Day in the Life - "I read the news today oh boy" - seems to trivialise the tragedy we have just witnessed over three compelling hours. Except there is nothing trivial about the news these days. It's full of global, national and domestic tragedy. And the choice we are invariably faced with is to shrug it off as yet another atrocity/ disaster/ calamity, or try to understand why it happened in the hope we honour our natural desire to declare, "Never again!"

At the end of Shakespeare's King Lear, as the disenfranchised but wiser ex-king expires amid the bodies of all three daughters - two dead at each other's hands, the other hanged in gaol before her reprieve came through - Edgar's epilogue offers the moral: "Speak what we feel, not what we ought to say." And there we have it: failure to speak truly, and to value truth above flattery or fear, is what has precipitated these tragic outcomes.

If the King had not lapped up the loving platitudes of his older daughters, Goneril and Regan, and failed to perceive the honesty in Cordelia's inability to ape their hypocrisy, he would not have lost his kingdom, status and reason for being to the venal forces of greed, lust and indifference. Only by being stripped of all his wealth and power, has he been able to achieve true wisdom, albeit too late and in a way that makes him fear he's lost his mind.

The paradox has everything to do with why this truth endures. As the notice outside the Te Whaea auditorium says, "people susceptible to existential angst may find this play disturbing".

Once more director David Lawrence - whose 'Bacchanals' combine forces and resources with Dunedin's Fortune Theatre for this production - has aligned his cast to a clear and intelligent rendition of a Shakespeare play, produced simply, with flair and a focused energy born of a deep-set love for the work. Given their loss, one week into rehearsal, of Edward Petherbridge - who arrived from the UK to play the title role after months of long-distance pre-productive development, only to be taken ill and return home - I was prepared to make allowances. But there is no evidence that adversity has taken its toll. Quite the opposite, in fact.

Despite an absurdly short rehearsal time, Mick Rose (who played the role nearly 20 years ago at university, then played Kent in a more recent production) commands our empathy as he takes us on King Lear's epic journey. Rather than play the despot getting his come-uppance, Rose brings an endearing Everyman quality to the role from the moment he is led in blindfold by his daughters to his surprise birthday party (an inspired opening image) and accepts their adulation as of right, through his dismay and anger at Cordelia's defiance, and his increasing ill-treatment at the hands of Goneril and Regan and their husbands, to his cathartic brainstorm on the blasted heath and the strange equilibrium he arrives at, only to have it shattered by the deaths of his daughters.

Having brought great inner strength and resolve to the circumspect Cordelia, Erin Banks excels even more as the king's fearlessly loquacious Fool, convincing us that even the most impenetrable utterances embody profound wisdom. A dog-collar and rope lead, well employed to capture the nature of the Fool's loyalty, prove an awfully apt set up for the noose around Cordelia's neck at the end. (I think I'm right in saying this doubling replicates the casting in Shakespeare's original all-male company.)

As the oldest daughter, Goneril, Amy Tarleton makes elder abuse, husband hatred and lust for bad boys (the bastard Edmund) seem entirely natural, while Phil Grieve, as the Duke of Albany, progresses clearly from compliant husband to his own man, taking military action somewhat too late to right the wrongs he has been complicit in.

Jacqueline Nairn's Regan is chillingly convincing in her professions of love, her resistance to Lear and his retinue cluttering her home, and her blood lust punishment of those who question her actions - abetted by her husband, the Duke of Cornwall, who is positively (if that's the word) psychotic as portrayed by Alistair Browning.

The blinding of Gloucester is as shocking, if not more so, than any of the many I have seen, not least because the theatrical spectacle does not eclipse the all-too-believable motives behind it.

In dramatic counterpoint to Lear's story, the Duke of Gloucester's misguided faith in his conniving bastard son Edmund, to the detriment of his legitimate son Edgar, is vividly enacted by Bruce Phillips, Alex Grieg and Sam Snedden respectively, although Snedden has yet to nail the whys and wherefores of Edgar's self-protecting 'Poor Tom' persona. (As a recent graduate of Toi Whakaari, it is surprising that he is the only one who has not found the pitch of the Te Whaea space, rendering much of Poor Tom unintelligible.)

Grieg's bright-eyed delight at being the bastard is a refreshing change from the dark moroseness with which the role is often played, in that he demands we step back from a natural inclination to side with his enthusiasm and instead apply more objective moral standards to his behaviour.

Phillips navigates Gloucester's journey from confident man, bragging with Kent about the sport that was had at the conceiving of Edmund, to the blinded man who now sees where he went wrong, with consummate skill. His scene with Lear on the beach - redolent, somehow, of Vladimir and Estragon in Waiting for Godot - is memorable and touching, as it should be.

Malcolm Murray does a fine job as the Earl of Kent, whose earthy, no-nonsense masculinity and integrity sees him survive, along with Edgar, where others don't. While Salesi Le'ota tends to over-declaim his lines, he excels in non-verbal communication of the natures and motives that drive both the King of France and Oswald, Goneril's self-serving steward.

David Goldthorpe completes this wondrously aligned ensemble with full commitment to a range of roles. Everyone plays Knights and Soldiers as required, with a simple colour-coding system of green, red, blue and white leaving us in no doubt as to who belongs to which faction.

One thing that especially struck me with this production was how meaningful it becomes that people tend to be recognised according to their position rather than who they really are. Usually we just have to accept, as theatrical convention, that people become incognito just because they change their clothes. But here, when despite fearing he's losing his mind Lear finally recognises people for who they are, a core theme of the play is revealed.

I was expecting to say that after this very brief Wellington 'out of town tryout' that the production will likely come into its own when performed in a fully designed set at The Fortune in Dunedin. And no doubt some aspects will evolve and improve. But nothing about what we've seen in Wellington suggests this is anything but a fully realised, lucid, perceptive and stimulating production of a great classic.

DOMINION POST - Reviewed by Laurie Atkinson, 6 Aug 2007

To perform King Lear has been described as the theatrical equivalent of climbing Mount Everest. From the moment rehearsals started this production was beset with difficulties and David Lawrence and his Bacchanals company must have felt that they would never even reach base camp.

It is good to report - and without making allowances for their problems - that this Lear is the best cast, best spoken, most expansive and professional of all Bacchanals' forays into Elizabethan tragedy.

And none of Bacchanals' trademarks is missing: simplicity, speed, multi-period costumes, attention to detail and careful analysis of the text, not to mention daring and sometimes gauche directorial touches.

It begins with a family celebration and Lear playing Blind Man's Bluff before he blindly gives away his kingdom to his daughters. The tragedy ends with a line from a Beatles song to ram home the point that the play is still relevant!

But Lear and Gloucester's journeys (suitcases are important props throughout) to self-awareness and an understanding of love and morality are told with a directness that is compelling and in the case of Gloucester's blinding we are presented with blood-filled horror, which at one performance caused an audience member to faint.

At the start Mick Rose, who took on the role of Lear at very short notice indeed, looks far too young and sane to say 'let me not be mad' and be described as old before his time. Lear's terrible imprecations to Goneril and Regan seem simply spiteful rather than a mind out of control.

But once Lear is on the heath and battling the storm and the one in his mind he is most impressive and his scene with the blind Gloucester is a lovely intimate conversation between two suffering old men. He rises beautifully to the challenge of the final scene and is most moving.

It makes a great deal of sense to have an actor double the roles of Cordelia and the Fool. Both characters tell Lear the truths he does not want to hear and it is clear that Lear sees them at the end as one.

As Cordelia Erin Banks is the honest daughter. As the Fool, with a rope around her neck like a leash, she is superb, quite the best Fool I have seen. It is also a marvelous touch for the Fool to bear mute, horrified witness to Gloucester's blinding.

There is firm support from Bruce Phillips's Gloucester (the Dover cliff scene is especially well performed with Sam Snedden as a quietly spoken - too quietly at times - Edgar), Malcolm Murray's Kent (an honest Kiwi farmer), Alex Greig's Edmund (a charming psychopath), and Amy Tarleton and Jacqueline Nairn as the two evil sisters.

Alistair Browning is bit too much the Victorian villain as Cornwall (if he had a moustache he would have been twirling it) but his fury and abandon during the blinding scene make it both realistic and unbearable, while Albany's eventual change of heart towards the end is made believable by Phil Grieve.

By the time the production reaches Dunedin it will have grown even more in stature and deserves full houses for its season there.

THEATREVIEW.ORG.NZ

A GREAT WORK REALISED WITH FIDELITY
Reviewed by Terry MacTavish, 13 Aug 2007

Diary entry, Wednesday, 29 May 1974, Oxford, England:
"...The most fantastic Shakespearean performance I've ever seen! A very powerful but controlled Lear - no ranting! - and the rest of the cast a delight, Edward Petherbridge the Fool...Glory and catharsis!"

Yes, that was this reviewer, excited young colonial on first OE, and the Oxford King Lear, actually also starring Ian McKellan as Edgar (and naked as Poor Tom), wasn't my first Lear either. That was a respectable Southern Players version with Waric Slyfield as Lear and the Fool the talented Simon O'Connor, like me still in his teens. The production was timed to support our careful study of the play at Otago University.

Therein lies the difficulty, of course, in reviewing what many critics call the Everest of theatre. We all have the ideal King Lear in mind, either as a gilded memory or the creation of our own imaginations. The disappointment of not after all seeing Edward Petherbridge now cast in the title role may also make it hard to be just to the valiant Mick Rose, who stepped belatedly into the breach.

And what an undertaking this part is. Lear's journey from arrogant ruler to pitiful broken wretch is more horrifying than that of any other Shakepearean tragic hero, and akin, so Prof Horsman told us, to the suffering of Job. Evil seems to hold all the cards and honesty and plain speaking are seen as foolish.

Lear recklessly relinquishes his kingdom to his daughters according to their publicly expressed love for him. True-hearted Cordelia cannot exaggerate like her unscrupulous sisters and is banished, along with Kent who takes her part. She leaves England as the bride of the devoted King of France while Kent disguises himself as a loyal countryman to serve Lear secretly. Of course the sisters soon seek to destroy their now impotent father who is turned out into a terrible storm and, 'bound upon a wheel of fire', learns wisdom through madness. In a parallel plot the Earl of Gloucester rejects his worthy legitimate son Edgar because of the machinations of his wicked bastard offspring, Edmund and is similarly betrayed.

The Fortune's set is surprisingly bare, with minimal scenery: a flat stage with massive corrugated-plastic windows that seem recycled from 2005's Hamlet (Edward Craig would be proud), and a red velvet curtain torn down by Lear at the climax of his fury to reveal a stack of suitcases. But King Lear is a simple play to stage and director David Lawrence is thus enabled to concentrate on the action, moving his actors swiftly across the stage so the scenes almost merge. Lawrence does not shy away from the violence and savagery of the play, and the fight scenes and appalling torture of Gloucester are carefully devised and genuinely horrifying. Twelve hard-working actors shift easily into rhubarb rhubarb mode as soldiers, servants, etc with monk-like hooded grey robes when they are not required in more significant roles.

There are some lovely lighting effects by Alan Surgener especially when the storm's rain and lightning are reflected in the plastic panes. The costumes are mostly contemporary with the women's gowns gradually reducing to reveal more cleavage and bare skin as lust overcomes them while Lear's elegant white suit disintegrates to leave him in old man's long-johns.

As Lear, Mick Rose starts as urbane and suave, secure of his position even when blindfolded for a birthday surprise. The role places extraordinary demands on the actor and if perhaps Rose does not scale the peaks of passion in the raging storm, he does give a distressingly credible interpretation of a mind destroyed, capering crazily across the stage in his long underwear, or sprawling like a helpless baby in the arms of blinded Gloucester. His tender reconciliation with Cordelia makes the more touching his despairing grief at her death.

Gloucester is played with confident power by veteran actor Bruce Phillips. With his initial arrogance and poor judgement he, like Lear, seems to deserve punishment, but Phillips brings such anguish to his ultimate sufferings that we feel nothing but pity. It would be interesting to see him undertake Lear some day.

The audience warmed to Erin Banks in both her roles as sincere Cordelia and later as Lear's Fool, led with dog collar and rope like the downtrodden Lucky in Waiting for Godot. Much of the Fool's speech is unintelligible to us today but Banks tackles it with determination and a vigorous physicality.

Her sisters bear a resemblance to TV's Desperate Housewives, reinforced by Regan's similarity to the perfectly groomed and scary Bree. Amy Tarleton is energetic as Goneril despite some trouble grappling with the language, while Jacqueline Nairn is stunning as a sophisticated vampirish Regan with superb timing and blood-red nails. As their husbands, Alistair Browning throws himself into evil Cornwall with gleeful gusto while Phil Grieve manages to wring a little grim humour from the character of the cuckolded Albany.

As good and bad sons to Gloucester, Sam Sneddon and Alex Greig balance each other well, their unhappy relationship culminating in a dexterous sword fight. The doubling of characters makes for further interest. Salesi Le'ota is more convincing as elegantly insolent servant Oswald than as the King of France, while the very competent Malcolm Murray has more fun in disguise as a down-to-earth kiwi bloke than as courtier Kent, and David Goldthorpe gamely takes on any remaining characters.

It is the poetry and imagery that make the play reverberate beyond the demands of the action and on Saturday this heightened language did prove a struggle for some, especially younger cast members who at times lacked clarity. Sometimes, too, an awkward direct address to the audience would seem curiously inappropriate. These flaws may be overcome as the company adapts itself to the theatre and its acoustics, but judicious cuts would perhaps have enabled the cast to concentrate more on what remained, as well as making for a less lengthy evening. Two hours is a long first half!

That said it is tremendous that the Fortune has the budget-courage to mount a Shakespeare almost every year, and a commendable challenge to combine with the free-spirited Bacchanals from wild Wellington. Hopefully Dunedin will give the venture the support it deserves. School students at least will pack the theatre and maybe find the 'glory and catharsis' of a great work realised with fidelity. At the very least they should be well satisfied with the bloodthirsty action and a really cool line in cursing: 'Unnatural hags', 'degenerate bastards', and my personal favourite, 'thou whoreson zed! Thou unnecessary letter!'

MOVING VERSION OF TRAGEDY

OTAGO DAILY TIMES
Reviewed by Barbara Frame August 10, 2007

FEW people could watch the Fortune Theatre/Bacchanals production of King Lear and fail to be moved by its powerful presentation of Shakespeare’s take of a king whose misjudgements take him from everything to nothing, and bring his kingdom down with him.

Not everything is perfect. There is a certain amount of shrillness, gabbling and apparently imperfect comprehension of the meaning of the lines being spoken. At times the action seems creaky and the set needs more than a couple of brutalist-looking structures and a heap of dusty old suitcases.

But the production’s strengths are considerable and include the costumes. The clothes worn at Lear’s court are approximately those of present day and flashy, raffish, often badly fitting. They help to characterise their wearers as essentially gangsters and contribute to the total effect of a world on the skids. The best performances are excellent. Mick Rose has responded magnificently to the challenge of replacing Edward Petherbridge at short notice. His astonished and bewildered Lear retains the audience’s sympathy throughout as his rapid descent into horror, alleviated by a brief episode of tranquillity, culminates in a final plunge into despair. Jacqueline Nairn’s sultry, vicious Regan schemes her way confidently through the play. Erin Banks, superbly cast as both Cordelia and the Fool, shows us different aspects of wisdom and devotion as much in her actions and expressions as in her words.

Director David Lawrence brings us an uneven but worthwhile production.

SALIENT

Reviewed by Eleanor Bishop

Wellington director David Lawrence mounts one of the most difficult plays of all time, with a monumental cast and from what I hear, a lot of monumental obstacles along the way.

The take is a classic, ageless one – the costumes appear timeless, with the colour schemes linking the families together and the lighting (Joshua Judkins) is simple, evoking nature’s disharmony, helped along by Walter Plinge’s excellent soundscape. However, it’s filled with a few of the quirky touches we’ve come to expect of the Bacchanals such as the fantastic, utterly theatrical opening (which I won’t ruin as I hope and pray this production comes back to Wellington), the Earl of Kent (Malcolm Murray) disguising himself as a kiwi type farmer, and The Beatles playing as the show ends.

The ensemble work together well, and individually, there are some outstanding performances. Erin Banks as Cordelia and The Fool is particularly good, her performance clearly making the link between the knowledge that both The Fool and Cordelia possess and Lear does not, which is ultimately his downfall. Mick Rose makes for an earthy Lear, and brought shivers as he gave a guttural scream for his dead Cordelia.

Regan (Jacqueline Nairn) and The Duke of Cornwall (Alistair Browning) are deliciously evil, and I loved the Blasted / Sarah Kane-esque reference as Regan tears out Gloucester (Bruce Phillips)‘s eyeball with her teeth. Yum. Bacchanals staple Alex Greig is in fine form as evil bastard (literally) Edmund.

However, the show lacks what I’ve come to know as the usual Bacchanals take on Shakespeare – quick scenes, sped up (yet enunciated) language and bursting with energy. The opening night performance seemed to lack some pace, which I can only assume is because they’ve been rehearsing with their Lear (Mick Rose) for only two weeks (due to their original Lear being unable to perform). However, I’m sure the production will get an outstanding reception in Dunedin and let’s hope Circa / Downstage wake up and give it a spot.

KING LEAR DISTURBING AND YET ULTIMATELY SATISFYING

The Star Newspaper - Reviewed by Brenda Harwood

AFTER a stormy and difficult birth, the joint Fortune Theatre-Bacchanals production of Shakespeare's KING LEAR enjoyed a successful first weekend in Dunedin.

Filled with dark machinations, lies and betrayal, KING LEAR plots the decline and fall of a king who throws himself on the mercy of his daughter's love and is sorely disappointed.

It is an affecting story, which relies on strong performances for its emotional impact - this production, directed by David Lawrence, is strong indeed.

In the pivotal role of King Lear, and despite only coming on board a couple of weeks before the Wellington leg of the production began, Mick Rose creates a sympathetic character.

Another stand-out is Erin Banks who doubles as Lear's loyal youngest daughter Cordelia and is affecting as The Fool, who travels with him through loss and despair.

Alex Greig clearly relishes the role of Edmond, the relentlessly ambitious son of Gloucester, weaving a web of flattery and cruelty to bring his father and the kingdom crashing down. These three may have been stand-out, but the entire company was worthy of note.

Continuously on the move as knights, attendants and servants, as well as fulfilling their main roles, Amy Tarleton (Goneril), Jacqueline Nairn (Regan) Phil Grieve (Albany) Alistair Browning (Cornwall), Malcolm Murray (Kent) Sam Snedden (Edgar) Salesi Le'Ota (Oswald) and David Goldthorpe (Burgundy) bring Shakespeare's often dense verse to life.

The play is easy to follow, engaging, disturbing and ultimately satisfying.

King Lear continues at the Fortune Theatre until September 1.

KING LEAR DISTURBING AND YET ULTIMATELY SATISFYING

The Star Newspaper - Reviewed by Brenda Harwood

AFTER a stormy and difficult birth, the joint Fortune Theatre-Bacchanals production of Shakespeare's KING LEAR enjoyed a successful first weekend in Dunedin.

Filled with dark machinations, lies and betrayal, KING LEAR plots the decline and fall of a king who throws himself on the mercy of his daughter's love and is sorely disappointed.

It is an affecting story, which relies on strong performances for its emotional impact - this production, directed by David Lawrence, is strong indeed.

In the pivotal role of King Lear, and despite only coming on board a couple of weeks before the Wellington leg of the production began, Mick Rose creates a sympathetic character.

Another stand-out is Erin Banks who doubles as Lear's loyal youngest daughter Cordelia and is affecting as The Fool, who travels with him through loss and despair.

Alex Greig clearly relishes the role of Edmond, the relentlessly ambitious son of Gloucester, weaving a web of flattery and cruelty to bring his father and the kingdom crashing down. These three may have been stand-out, but the entire company was worthy of note.

Continuously on the move as knights, attendants and servants, as well as fulfilling their main roles, Amy Tarleton (Goneril), Jacqueline Nairn (Regan) Phil Grieve (Albany) Alistair Browning (Cornwall), Malcolm Murray (Kent) Sam Snedden (Edgar) Salesi Le'Ota (Oswald) and David Goldthorpe (Burgundy) bring Shakespeare's often dense verse to life.

The play is easy to follow, engaging, disturbing and ultimately satisfying.

King Lear continues at the Fortune Theatre until September 1.

Drama Ambassador Review from Aislinn Furlong Columba College

Horrible winds, drenching rains, excessive partying and unprovoked violence. Just another night in Dunedin? Continuing through September 1st, you will find all this (but no burning couches) at the Fortune Theatre’s production of William Shakespeare’s King Lear. When I went as a Drama Ambassador to the Fortune Theatre to see William Shakespeare’s King Lear last Tuesday I was not sure what to expect.

From the very beginning of the play when the actors strike up a chorus of “Happy Birthday to Your Royal Highness”, to the dramatic eye gouging, and from that to the spiraling madness of King Lear, the talented cast and crew played a magnificent game with the audience. Adding modernism to the play through costume, demeanor, and props ranging from an eggbeater to a bottle of Speight’s, and still keeping the words and story beautifully preserved gives the production a timeless and accessible quality.

At a Forum after the show, members of the audience were invited to a postmortem of the performance with the director and actors. Some teenage students who had never read the play, including a Finnish girl whose first language was not English, expressed surprise that they were able to follow the story so well. Another scholarly patron wanted to discuss the possibilities of the play actually being written by the Earl of Oxford, Edward De Vere. Such a reaction is a real tribute to the director and actors, and reflects the diversity of a contemporary audience that mirrors the mix of people in the days of Shakespeare’s own productions, from queens to peasants!

When asked about the choice of modern dress, the director, David Lawrence, commented that during Shakespeare’s time, plays were performed in the modern dress of the day so why not continue the tradition? Another clever costume choice was the colour coding of the three sisters. The good Cordelia in white and the evil sisters, Goneril and Regan in green and red which reflected on the behaviour of the characters. Proud Goneril in green, which resembled her to a toad and evil, fiery Regan in a bright red. The husbands of these women dressed with accents of the colours themselves. This device also served to help the audience keep track of the characters.

The minimalistic set, using only suitcases and screens on the side of the stage, suggests many possible themes from the play. The pyramid of suitcases was a powerful image and may symbolize the idea of the refugees which most of the main characters become, as well as needing the characters to truly find themselves, as suggested by the director by ridding themselves of personal possessions. Also, the shadows created by the screens leave some of the fighting to the imagination which, for some of the gorier scenes, is often a useful tool for getting the message across but not scaring the younger members of the audience!

However, this production’s portrayal of the scene where Gloucester is blinded seemed a bit too influenced by a Tarantino film. The gruesome actions of Cornwall and Regan as they pluck out Gloucester’s eyes by hand and mouth respectively were so over the top that many in the audience dissolved into giggles. It is tricky with certain scenes in Shakespeare’s plays to achieve a balance. For example the massive body pile up and slow motion death scene at the end of Hamlet can easily strike the audience as absurdly comical if not sensitively handled. This scene somehow seemed a bit of a stunt rather than a sound artistic decision. (I must confess, some of my classmates attended the play the following school day, partly hoping to avoid a planned sheep’s eye dissection in science class. Little did they know!)

Being fortunate to see the production twice, I noticed more and more details. The use of music, such as “My Heart Belongs To Daddy”played during the interval, was one of many examples of hints and clues sprinkled over the audience to help immerse us in the story. It would be fun to have a playlist of the songs chosen.

One minor irritation in this production came from the sound effects. In particular, the use of the “rain” during the storm in the production was not very clear. As the audience was meant to suspend disbelief since the actors were standing in the rain and not getting wet or reacting physically, there seemed no reason to attempt realism. Also, the grating and general unclearness of the constant rain noise distracted from the words of the important scenes and made you wonder if there was a problem with the sound system. Once the storm really hit, the flashes of light and thunder cracks were quite effective.

Overall, it was a pleasing and exciting performance with a great cast especially Cordelia a.k.a.. the Fool (Erin Banks) and King Lear himself (Mick Rose) as well as the rest of the cast who worked so hard to make King Lear come alive to a contemporary audience. The clever and practical doubling of roles was successful. Alistair Browning who brilliantly portrayed both Cornwall and the Doctor was asked by an audience member in all seriousness who had played the role of the Doctor!

It was interesting to learn at the Forum that Cordelia and the Fool are often portrayed by the same actor in productions of the play, and because in Act 5, scene 3, Lear refers to Cordelia when he says “my poor fool is hanged”, some believe Cordelia and the Fool are somehow one. However, Director David Lawrence explained that in Shakespeare’s day, there was a “company clown” actor designated to play the Fool and since he was on the payroll he always would have played that part. But by choosing to have the roles played by the same actor, the director connects the two tellers of truth and it makes good dramatic sense.

As King Lear would say “how sharper than a serpent’s tooth the ingratitude of a child”. Let’s hope that the audience takes a far different view to King Lear’s daughters and appreciates having this wonderful production in Dunedin.

By Aislinn Furlong
Age 14,Year 10
Columba College

THE CRITIC

Lear is a weird play. It’s like watching two flatmates shout, and then perform Survivor: Petty island, which leaves you saying, “Guys, I'll do the dishes …just chill …ok?” It’s an overly intense, deceit-ridden, renaissance thriller, and it is rated as one of Shakespeare’s greatest plays; some say one of the greatest dramatisations of the human psyche.

However, this meant nothing to me when I attended the tech/dress rehearsal of Lear, a co-production between the Fortune Theatre and Wellington-based theatrical troupe The Bacchanals. Much to my detriment I did not know the plot of Lear all too well, and so I became enveloped in that familiar experience of being lost in another unrelatable Shakespeare. I was outraged. I was fuming. I wanted by two dollars back, so I could buy one of those tiny ice creams that the Fortune sells, and eat myself back to good.

However, I do believe I was missing the point. In reading the various sources of information I needed to write this review I learnt that there were extenuating circumstances that placed sizable hurdles before the Bacchanals and the Fortune. However, most I learnt that there were noble aims standing calmly in the background. I may have wallowed in my contempt for those people who giggled at the unfounded comedy that was sprinkled throughout the show, but now I feel I’ve done hard time down in the corner. I realise that there was only one thing I needed to do: chill.

First, I think it is important for anyone who is thinking of going to this show to know what The Bacchanals stand for. According to their website they’re not out to wow you with stagecraft but to present ‘a form of theatre where the only important ingredients are the performers and their relationship with the audience and the play they are performing’. Second, last minute re-casting and logistical problems meant they were trapped in a race against time, and had to make do with meagre props. The poor bastards. Obviously, this production was hounded by bad luck, and bad timing – which should have been avoided – but all these guys want to do is perform a play where the most important thing is not the show, but the audience who they yearn to please by innocently reaching out. Butter wouldn’t melt.

However, no review would be complete without at least some critical analysis. First, the story of the play needs to be presented in a way that the inexperienced theatregoer can understand. Not everyone is there for the language. At times they did play it up for the audience to obtain a few laughs, the camp acting of Alistair Browning being one example. However these moments were unfounded and needed to have a reason to be effective. Second, the cast played multiple characters and at times it was not clear who was whom, and when. This needs to be made clearer. Third, I felt the stage was too crowded. At times only two characters were taking for an extended amount of time, while their posse waited patiently in the background. I applaud the perseverance but take a break: if you’re not in the scene wait off-stage. Let the audience use their imaginations, which can paint a picture far more vivid from the tiniest of provocations.

Fortunately this production wasn’t all bad. A highlight was the deft sleight of hand which produced some of the goriest moments I’ve seen on stage. These moments invoked a strong response from the audience, and were met with a sense of amazement. I won’t ruin the surprise, but believe me, the see it is to believe.

One problem I do have with this production is the ticket price. I am, and I’m sure a lot of you are living on the one-fitty, and $19.50 is just not how I roll. However, I presented with a bit of a moral qualm. Save money and rent a DVD, or experience a sense of community. Be there not simply to be entertained, but to have a connection with someone. You decide.

Reviewed by Mark Venning-Slater.

The Lumiere Reader

Aug 1-5 (Wgtn); 10-Sept 1 (Dun) | Reviewed by Melody Nixon

King Lear is hailed as one of the most tricky and multi-layered of Shakespeare’s magisterial tragedies: producing it requires great sensitivity to the motives and inflections of each of the characters. It can be argued that aside from the consistently evil Edmund each of the characters has very human and contradictory moments of self-doubt, reflection and sorrow. The most striking aspect of this production from The Bacchanals then is the successful interpretation of the characters and of script. Every nuance, aside and satirical comment seems carefully studied and understood. The result is a confident production which veers into creative interpretation at times but generally works to serve the script.

A few select elements of the play have been modernised; occasional use of slang such as “mongrel bitch” reveals this, as does the costuming which brilliantly and simply shows links between family and kin. The language has undergone a very subtle modernisation and one which happily does not detract from the poetry, placing or tone of Shakespeare’s script. The use of colour to explain potentially confusing links between players is a clear and effective device which frees up maiden King Lear viewers to focus more intently on the drama at hand.

Daughter Regan, embodied in all her feistiness and deception by Jacqueline Nairn, is dressed in blood red and the colour is reflected in the shirt of her husband The Duke of Cornwall (Alistair Browning), and the scarves of their servants. Likewise Regan’s collaborator then competitor Goneril (played by a more measured Amy Tarleton) is dressed in green; as are her husband, The Duke of Albany (the very consistent and endearing Phil Grieve) and servants. The third sister Cordelia (smoothly played by Erin Banks, who also provides a beguiling Fool) is given the white of purity, as she remains true to her father against her sisters’ treachery. These colours are used too for the letters passed family to family, harbingers of grief and trickery. Our attention is thus drawn to the symbolism of these letters and again potential confusion is overcome as we immediately identify where each letter belongs.

The tension and viciousness between the three sisters, particularly in early scenes, is captured fluidly by Nairn, Tarleton and Banks. The descent of Regan and Goneril into greed and power-lust is interestingly matched by their increasing sexualisation; Regan in particular becomes temptress-like and seductive, her part in the blinding of The Earl of Gloucester a veritable – albeit gruesome – lap dance. Here director David Lawrence is perhaps suggesting a correlation for Shakespeare between ‘evilness’ in women and sexual expression; or the use of sexuality as a tool to gain power; a link which is perhaps not as often explored in Shakespeare’s works as it could be, hinting at an uncomfortable kind of old world misogyny.

As the aforementioned Earl of Gloucester, Bruce Phillips provides a powerful, completely engaging and at times stunning performance. Phillips clearly and emotively engages in the play’s pivotal dialogue, crystallising the central deception with his bastard son Edmund (played by with strength and conviction by Alex Greig). The scenes between the two sudden opponents are some of the most enjoyable of the production.

The choice of a kiwi accent and highland man dress for Malcolm Murray, to demonstrate his position as a fallen Earl, is an interesting and political choice that verges on the Pakeha post-colonial. This is an idea which opens up many possibilities; one could only imagine the effect if it was taken further and, for example, the entire cast adapted kiwi accents in their relative downfalls.

Literal and thematic symbolism is gratifyingly given much attention in this production. As well as the added weight certain objects gain (rope, the letters, The Bacchanals much loved suitcases) in their use and positioning on stage, themes such as emptiness and nothingness are richly explored. As the Earl of Gloucester states, “The quality of nothing has not such a thing as a need to hide itself.”

With a minimal budget the set, lighting and sound design manage to inform and assist drama effectively, focusing viewers’ attention on the action and allowing some degree of imagination to fill in gaps. Lighting by Joshua Judkins and Sound by Walter J. Plinge combine brilliantly to capture the bleakness and despair of the mighty storm in the play’s middle; where the Fool, Lear and Knave gather in misery under this storm the dampness is tangible.

Mick Rose has undoubtedly impressed everyone with his three week adoption into the role of Lear, following the illness of first-cast Edward Petherbridge. Rose has grace and empathy as Lear, and particularly in final scenes he outlines the essence of the tragedy with believable emotion. As Edgar, Sam Snedden was a little difficult to hear and relate to on opening night; when Edgar becomes outcast and wraith-like Snedden’s voice is almost indistinguishable.

Overall opening night show in Wellington lagged a little due to nerves and the lack of rehearsal time; however I am told the production gained much in impetus and skill and by the end of its Wellington run it was stunning audiences. For those who wish to see an intelligent and accurate interpretation of a mighty script, The Bacchanals’ King Lear is definitely worth attending in Dunedin, as it completes its season at Fortune Theatre in one week’s time.