Venue: The Neilson Nutshell (Sydney NSW), Jun 14 – Jul 20, 2024
Playwright: William Shakespeare
Director: Peter Evans
Cast: Tamara Lee Bailey, Shameer Birges, Jeremi Campese, Melissa Kahraman, Alex King, James Lugton, Robert Menzies, Lizzie Schebesta, Michael Wahr, Janine Watson, Darius Williams, Brittany Santariga
Images by Brett Boardman
Theatre review
As Lear nears the end of his life, it becomes important that he knows how his daughters feel about him. It may seem that young men can bear children indiscriminately, only to decide to assess the quality of those relationships, when it is much too late. The results can often be disastrous, as is exemplified in Shakespeare’s King Lear.
An intensity associated with those dire consequences is certainly present, in Peter Evans’ direction of the piece. Lights by Benjamin Cisterne and sounds by Max Lyandvert pull no punches, when required to deliver the drama. In concluding sections of the play especially, a theatrical flamboyance takes hold quite decisively, as though to remind us of the extremities in human emotionality that Shakespeare had loved to depict, and with such aplomb. In this production however, the drama feels distant, almost synthetic. Its vigour is discernible, but never really connects, leaving us to observe its passionate renderings, only with cerebral curiosity.
The staging is nonetheless aesthetically pleasing, with a captivating set design by Anna Tregloan taking inspiration from celestial elements in the text. It is a modern approach that extends to her costumes, although a greater eye for detail and refinement would improve visual interest, for an audience positioned so intimately in relation to all the action.
Actor Robert Menzies plays leading man on this occasion, highly convincing in the role, although not always compelling. Other performers include Janine Watson as Kent, and Darius Williams as Edmund, both rich and delicious with the myriad colours and textures they deliver, memorable for the inventiveness they bring to the table.
It is arguable if Lear’s regrets are circumventable. We can see that there is so much he could have ameliorated through the years. We also know that one can only do better, if they know better. What is in contention therefore, is if Lear had actually known any better, or if he was only ever doing his best. Parenting is tricky business, enacted by flawed people, who then create further flaws in other people. No wonder we talk endlessly about forgiveness.
Suzy Goes See 