26th-29th October 2011
One of Shakespeare’s most visceral and engaging works, King Lear tracks the destructive effects of the old king’s arrogance on himself and those around him. From his initial irrational decision to exile his one faithful daughter springs a series of treacheries that bring violence that bring violence and destruction to the entire kingdom.
King Lear
by William Shakespeare
Director's Note:
Putting on a production of King Lear in four weeks is, frankly, a daft idea. It has been challenging, time-consuming and at times more than a little stressful.
On the other hand, I can’t imagine a more enjoyable way to have spent the beginning of my second year, or the last time I looked forward to something as much as this. Since getting proposals, which seems so long ago, not a day has passed when I haven’t thought about the play. Cutting the play (by roughly a third from its original length. Sorry Will). Planning the play. Getting a team for the play.
The gap between proposals (in May) and starting the process last month is an odd one. Over the summer, September couldn’t come fast enough. Auditions, rehearsals, show week. How far away they seemed. Then term started. By contrast with the months before, the last four weeks have gone frighteningly quickly.
It’s at this point I need to point out that, while seemingly fleeting, the last month has been incredible, and begin thanking people. The enthusiasm of the cast, from the audition process and throughout rehearsals has been an absolute joy, and they deserve immense credit for their hard work and huge talent. A phenomenal group of people, with a ceaseless ability to transform my anxiety about the play into pride and awe. Kate and Alex, I cannot say enough about your contribution to this process. From the moment you were invited onto the team to now you’ve both been supportive and dedicated as well as calming and encouraging in all the right places. And Joe. Although the last, not least. For agreeing to take this on with me, for getting the balance between friend and team member right at all times, and because without you none of this could have happened, thank you. Enjoy the show.
Cast and Crew:
CAST
King Lear – Josh Finan
Gloucester – Andy Elkington
Edmund – Tom McMahon
Edgar – Doug Dunn
Cordelia – Sarah Sharp
Kent – Ellie Webb
Fools – Megan Gunn, Jade Richards, Elisa Santos
Regan – Loma Sylvana
Goneril – Ellen Jurczak
Oswald – Essie Barrow
Duke of Cornwall – Richard Agar
Duke of Albany – Matt Woodhead
Doctor / Chorus – Dorrit Pollard-Davey
Old Woman / Chorus – Danielle Patrick
King of France / Chorus – Thomas Brown
Servant / Chorus – John Murphy
PRODUCTION TEAM
Director – James Travers
Production Manager – Joe Bunce
Stage Manager – Kate Warburton
Producer – Alex Marshall
CREW
Lighting Designer – Selina Thompson
Composer – Matt Malone
Set Design/Construction – Genevieve Cant, Alex Flood
Lighting Operator – Anna Lamont
Sound Operator – Luke Singleton
Blood Effects Designer – Loma Sylvana
Blood Operator – Kate Lynas
Band – Andrew Greenwood, Elinor Hardcastle, Joe Wilkinson, Ben Hoblyn, Emily Moss, Katy Robinson, Josh Taylor, Sam Chapman, Catherine Bryant, Kate Smith
Reviews
SuTCo regulars were treated to their second play in as many weeks with the opening of James Travers’s King Lear following the excellent Equus.
In a week where the press has been littered with questions regarding the origins of Shakespeare’s work, this production serves as an apt reminder that regardless of the source of his words, the quality and the longevity of the works cannot be doubted.
Even before the opening of the curtain, the audience was accompanied by a live band who are due great credit for adding grandeur and atmosphere to the occasion.
Not least during the Machiavellian Edmund’s (Tom McMahon) scheming, in which the eerie and unnerving theme added tension, suspense and anticipation to the proceedings.
The guitar that accompanied the acceleration of Lear’s (Josh Finnan) descent into madness was perhaps less appropriate, as both lines and the orchestral tension were lost in a moment in which a concern for sound seemed to cloud a concern for speech.
The minimalistic lighting set the tone with a variety of palettes reflecting both the mood and location of the action, combined with a few abstract devices and the occasional extra effect such as smoke, which was used sparingly.
This, together with the open stage space largely left the cast and director to their own devices to tell the tragic tale of King Lear’s fall.
Lear, played by newcomer Josh Finnan, was brought to life not only by an excellent visual portrayal of a man who even at the dawn of the play had lost much of his youth’s authority, but also by a vocal performance that betrayed much of his naivety and withering power before the narrative did.
His mature performance was demonstrated by the ease in which he transformed Lear, particularly in his darker moments, through a range of emotions whilst continuously evoking sympathy and slight repulsion with the authenticity of his act.
Finnan was complimented by a fine supporting cast, not least from Tom McMahon’s deliciously duplicitous Edmund who brought such dark charisma to the role that watching him command the stage was a delight.
His knowing grin and the slow and precise delivery of his asides to the audience made Edmund as engaging as he was devious, and allowed him to charm the audience almost as much as he did his fellow characters.
It was his unnerving and twisted confidence that ever so slightly began to shake towards the climax of the play that made the closing scenes as exciting as they were.
With a play so wrought with emotion, comic relief is much needed, and it was brought to the play in the form of the Fool ; portrayed in three parts by the mischievous Jade Richards, the childish and petulant Megan Gunn and the more sinister Elisa Santos. Together with a wonderfully eccentric wardrobe and makeup selection, they gave the play a well choreographed and perhaps well needed extra dimension.
Further solid support was brought by the rest of the ensemble, including the magnificent Sarah Sharp as Lear’s only loving daughter, Cordelia, who brought possibly the most tender moment of the entire play in her reconciliation with her father, which suggested that one of the biggest tragedies in this play of many, was that we were unable to witness more of both her and her relationship with Finnan’s Lear.
King Lear was a tasteful, if fairly conventional production of Shakespeare’s classic, which certainly benefited from a solid cast.
Oli Goodwin, Forge Arts, 7th November 2011
