Ruth Wilson and Glenda Jackson (photo credit: Brigitte Lacombe)
It
is to be expected that a seasoned critic would have seen William Shakespeare’s “King
Lear” more than once, perhaps in my
case quite a few times. That Glenda Jackson is playing the (monumental) role makes
it unique for many reasons that should be obvious. But before we go too deeply
into the production and the performances that will inevitably invite pros and
cons, I want to share a program quote from Bonnie J. Monte, the artistic director
of the Shakespeare Theatre of New Jersey who directed an excellent Lear eleven years ago. "It is about a world completely out of balance, awash
in chaos, and leaderless." To which I wrote at the time: "It is the right time for the politically and
artistically progressive Monte to put her stamp on this classic.”
Apparently it remains the right time
in the light of the way things are politically and socially volatile. A
modernist but not a revisionist staging is what award-winning director Sam Gold
(“A Doll’s House, Part 2” “The Glass Menagerie” “Fun House”) is giving us with
this production. That Jayne Houdyshell is playing the Earl of Gloucester
completes the untypical casting.
At the performance I saw, a very
fine member of the ensemble Therese Barbato making her Broadway debut stepping into
the role of Goneril due to the illness of Elizabeth Marvel.
Did we ever doubt that Jackson would
be able to throw her crown as a renowned classical actor into the circle of
great Lears? Do we doubt that the 83 year-old Jackson has what it takes to objectify
Lear’s madness well enough to make it good theater. No doubt about it. I
suspect all who see her portrayal will be led into the abysmal darkness of Lear’s
deteriorating mind. Having only recently been thrilled by her award-winning performance
in “Edward Albee’s Three Tall Women,” I can now attest to her Lear being as
emotionally real as it is realized. Despite her petite size and occasionally
raspy voice, she scales the heights. Jackson’s furies, however, are undermined
only in the famed storm scene, the setting, lighting and sound are woefully amateurish.
.
The action for the most part played
within the production’s primary unit setting designed by Miriam Buether. Long formal
tables, a back row of black and gold flags and a modest display of regal-looking
furnishings dress the set, its walls flecked with gold. Transformations to
other locations beyond the palace are easily accomplished. There is a one major
and stunning visual change to the same setting that I won’t spoil. The costumes
designed by the genius Ann Roth are best described as contemporary modernist
chic. Roth’s palette provides for nice bursts of color for the daughters.
There is no denying that filial
ingratitude plays a large part in “King Lear” even as our attention will be mostly
on watching Jackson’s every move. However, she is surrounded by an impressive
troupe of players and supported by Gold’s keenly focused staging.
This bi-level tragic tale of
misjudging a person's character and royal deception is hugely enhanced by a string
quartet that plays some gorgeous music composed for the play by Philip Glass. It
is used not only for underscoring but to accompany the singing, the impish
doings and wise discourse of the Fool, brilliantly acted in Chaplinesque
fashion by Ruth Wilson (currently seen in the BBC/PBS TV series “Mrs. Wilson”)
who is also splendid as Cordelia, the daughter who has found the key to unlock
the uncomplicated affection for her father.
One has to be in awe of the way the
play masterfully blends two plot-lines. The themes of old age and the different
relationships of each child to his/her parent, in both the main and sub-plots,
bring universal timelessness to each new generation of viewers.
Briefly, the story details King
Lear's misapprehension of his one daughter's honest devotion causing him to
divide his kingdom between the remaining two daughters, who have feigned their
love through flattery.
The resulting web of deception by the wicked daughters
to strip their father of all power, and at the same time involve and seduce
Edmund, the bastard son of the Earl of Gloucester (who has the similar function
in the sub-plot of deceiving his father by denouncing his brother Edgar as a
traitor), results in a downward spiral of devastating proportions. The majestic
sweep of the poetry is hardly surpassed in all of Shakespeare. Be aware that
guns have replaced swords and that they are loud and frequently used.
Despite Lear's unstable mental state
and his sheer physical deterioration, Jackson creates an image of him that also
expresses Lear's loss of empowerment, more heartbreaking for being “more sinned
against than sinning” amid the show of senile foolishness. Lear’s heartbreak reaches
its peak with Cordelia’s death in a climactic scene that also tests the many
dimensions of reality in this production.
The second daughter, Regan, Aisling
O’Sullivan unravels her mischief with despicable conscientiousness. Sean
Carvajal as the maligned Edgar, gains our empathy for his plight. Pedro Pascal connives
with the best of them as the false brother Edmund and John Douglas Thompson offers
a stirring Earl of Kent. Deaf but deft performer Russell Harvard is terrific as
Goneril’s duplicitous husband the Duke of Cornwall. The signing and translating
throughout is well done.
It is good to report that all the
poetry is heard with an understanding of its meter. Not something to be taken
for granted. Not to be taken for granted is that any fine actor of a certain
age should attempt Lear. Jackson’s has done it admirably.
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