Review: KING LEAR, Wyndham’s Theatre
Photo credit: Johan Persson
King Lear is a widely coveted role; accomplished actors reach the latter stages of their career and decide it is time to turn their hand to playing the old King who is driven insane by the tragic breakdown of his family. In this new production, it is the turn of stage and screen star Kenneth Branagh, who directs and stars as the King of Britain.
The show opens with a bang, accompanied by drumming music; the cast rush onto the stage clashing wooden sticks and transport us back in time to Ancient Britain. We meet King Lear who preparing for his old age, and asks his three daughters how much they love him to decide how to divide his Kingdom. His eldest daughters, Goneril and Regan, flatter him and receive their share of the realm. Whereas his youngest daughter, Cordelia, proclaims that there is nothing she can say to describe her love. Blinded by pride and arrogance, the King disinherits her and sets off a chain of tragic familial and political events that cause his descent into madness.
Branagh is joined on stage by a young company, many of whom are making their West End debut. They bring youth and eagerness which matches the pace of this adaptation. Shakespeare’s saga has been condensed into one two-hour act which, in contrast to the three-hour King Lear performances we are accustomed to, speeds along and keeps the audience hooked. This captivating new production keeps the focus on the story with simple set and costumes, designed by Jon Bausor. Giant rocks reminiscent of Stonehenge sit below a beautiful sky-filled ring, with projections designed by Nina Dunn, which give the stage an open and epic feel. This is only interrupted when an enraged Lear rushes out into a storm and the stage spins and rises into a precipice. It is visually spectacular in the moment but ultimately it feels superfluous as it is one of the few times the revolve is used. It is rare to see a West End show without a revolve these days and one cannot help but feel that this production would have been just as creative and impactful without it.
Many have commented that at the age of only 62, Branagh is too young to play the ageing King Lear, as in recent productions the actors have been closer to their eighties. However, comparison is the thief of joy and if you can suspend your preconceptions, Branagh is heartbreakingly believable as the waning monarch, especially as he is surrounded by such a young cast. We witness him mentally and physically breakdown under the weight of betrayal and demonstrate why he has had such a successful and varied career.
Within this cast of RADA graduates, there is not a weak link to be found. Branagh attended RADA and has been their President since 2014 and the cast reinforce why he has chosen to use his production to extend opportunities to his alma mater. Special mention must be given to Jessica Revell who we did not realise was playing both Cordelia and the Fool until looking in the programme. Praise must also be given to those playing the Gloucester Family whose sub-plot is central to the story. Joseph Kloska perfectly embodies the despair of the Duke, driven to a similar fate as Lear by collapse of his relationship with his sons Edgar (Doug Colling) and Edmund (Corey Mylchreest).
King Lear is often described as Shakespeare’s greatest tragedy and Branagh’s staging of this deeply human story is incredibly compelling. If you can get a ticket, then make sure you see this bleak and brilliant retelling of the emotional epic.
**** Four stars
Reviewed by: Sophie Luck
King Lear plays at London’s Wyndham’s Theatre until 9 December, with further information here.