Review: KING LEAR, The Almeida Theatre
Marc Brenner
Yaël Farber’s King Lear is stylish but lacks soul. It is unclear what Farber intends to bring out in her telling of Shakespeare’s tragedy. It is filled with song, violins, atmospheric haze, dim lighting and an at times an overbearing set design including a hanging metal curtain, but stripped of these accessories one is left unmoved by a confusing show in which choreographed two dimensional performances dominate, preventing meaningful emotional immersion in a tragic story.
There are at times very strong atmospheres and images created, such as the storm scene. This is deftly directed and performed by a fusion of violinists setting the score for the storm, Edgar running chaotically around the stage with a piece of plastic that creates ‘wind’ as he shakes the metallic curtain behind him, with The Fool’s umbrella struggling against the wind turning inside out and King Lear himself falling into a rubber tire. Here all elements of light, music, set and performances come together impressively and imaginatively to create a powerful atmosphere and world.
A large portion of the transitions however, were not so imaginatively approached, with clunky furniture being dragged to and fro for scenes unnecessarily, whilst dramatic musical interludes attempt to distract from this. Dynamics and performances between King Lear, Goneril and Regan are underwhelming with a surprising lack of development of character arcs in three hours.
Matthew Tennyson’s Edgar steals the show. Beginning his character arc as a rather silent, shy, awkward and reserved young man simultaneously threated and seduced by his illegitimate brother Edmund and his temptations of smoking cigarettes and hiding these when caught, to the maddened homeless ‘philosopher’ Poor Tom, writhing naked in a muddied floor, Tennyson certainly rises to the challenge. Tennyson is three dimensional in his breath-taking performance and we are taken on a journey, as he is deceived, lost and striving back home carrying his blinded father on his back. He is not only subtle and atmospheric, but immensely physical and performs this maddened character with ease and truth. Cordelia is also sensitively played by Gloria Obianyo who is engaging to watch as she carries with her a strong atmosphere and beautiful voice.
There are captivating and creative moments in the show but they are inconsistent. Farber’s King Lear seems to have sacrificed truth in its story telling for a striking visual and aural style. Without the heart of the play being communicated, impressive stylistic choices ultimately cannot compensate.
*** Three Stars
Reviewed by Viv Williams
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