King Lear is an astonishingly flexible play. It can be a great national tragedy set in a society which is deeply flawed or it can be an intimate family tragedy played out in a small space. It works to enormous effect either way when done well. It is the bleakest of the tragedies and while there is hope at the end you have to look pretty hard to find it. I had seen it played out on a grand stage in the National Theatre’s recent production so I was looking forward to seeing Northern Broadside’s production in our small local theatre. They are always very much at home in Scarborough and there was a full house waiting for them along with me.
It is obviously a very good idea to put Barrie Rutter, as Lear and the director Jonathan Miller in a rehearsal room together. His performance begins by being very familiar to those of us who know his strengths but by the final scene he has found an openness and a vulnerability which is not his natural territory and it was deeply impressive and moving to watch. Catherine Kinsella is also very moving as Cordelia. She is simply honest and good and her obvious worth points up the irrational, capricious nature of Lear’s decision, a terrible misjudgment which sets the plot in motion. You can see what she is thinking even when she is silent and I can give no greater compliment to any actor than that. I was also very impressed by Nicola Sanderson’s Regan. She had a very northern face, bitter and self satisfied, and I am haunted by her expressions as she stood centre stage watching the blinding of Gloucester taking place off stage down one of the voms. It takes a pretty special performance to carry that off and make you believe it is actually happening. Jos Vantyler gives a scene stealer of a performance as Oswald, up front but perfectly controlled, making a real person of someone who could easily be just a cypher. and Andrew Vincent made a fine Kent, full of natural dignity. The whole cast was, quite simply, without a weak link.
You can never have everything in a production of a Shakespearean tragedy and there are always gains and losses however you approach it, that’s what makes it worthwhile coming back again and again. I am not sure, for reasons that I don’t think were anything to do with Finetime Fontayne’s performance, which was stylish and precise, that this production managed to completely show the relationship between Lear and his fool. There has clearly been some very perceptive direction in the production as a whole from Jonathan Miller but I would like to have asked him about that.
I have probably been luckier with Lear than any other Shakespeare play over the years and I have seen some great ones. This was a worthy addition to my list.
As a postscript I need to add that there was a long break in the second half due to a medical emergency in the audience and I really wish that I could have seen the production again before writing.