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Cutting ALL of Shakespeare's dialogue means this is far from your traditional King Lear. Some may struggle with it, but others will find it a hugely satisfying piece of nonverbal theatre. Summary
Rating
Excellent
You could view this wordless King Lear as a simple experiment. Can you tell the story of Shakespeare’s famous tragedy using gestures alone? That, however, would be doing Director Tang Shu-wing and his NonVerbal Theatre of Gesture a disservice. Firstly, the answer is unsurprisingly no, not really, but secondly, it soon becomes clear that Shu-wing has no interest in anything as traditional as narrative. Where he takes us, you don’t need words. You don’t need very much at all.
This unapologetically minimalist physical take on Lear, presented on a largely empty stage, is stylised, contemplative, calm, slow and measured. It is self-consciously a pure form of theatre free from flashy distractions. Nobody flaps their arms or rushes about the stage doing business for the sake of it. Every single moment, breath even, has a purpose. Actors should flock to it. The all-female cast of nine provides an object lesson in being wholly present and centred on stage. They become mesmeric to watch.
The sense of rigour and discipline that surrounds the performances, however, does make them difficult to describe as entertaining. In all honesty, the show is difficult to describe, full stop. Gesture Theatre is not quite dance, although there’s a proficient tango at one point. It’s not quite mime, yet the cast often walks in slow motion in a mime-ish way. It’s not quite clowning yet Lear’s fool cartwheels merrily along. I suspect failing to fit into a handy box doesn’t bother the company one bit. They are doing their thing and audiences are either on board with it or you’re not. Hand on heart, I suspect 50% of the press night audience was bored. If not more. I am, however, happy to report I was not. Far from it. I wasn’t able to tear my eyes away from the action. I mean, when was the last time you were asked to concentrate solely on gestures; a cock of the head, a raised fist, a fall to one’s knees or an affectionate embrace? Even the simple act of sitting is a ‘thing’ here. We are forced as an audience to observe – really, really observe – our fellow human beings in motion. Tell me that isn’t a good use of ninety minutes.
The cast is ably supported by strong audio and visual design. Composer Billy Ng and sound designer Anthony Yeung are responsible for an impressive soundscape that includes metallic chimes, rattling gunfire and driving rhythms. They aren’t, however, afraid to leave us in silence for long periods too. At times, the cast’s footsteps echo powerfully around the auditorium. Tsz-yan Yeung’s simple but effective lighting design includes the inventive use of red laser pointers. Are they sniper targets? They certainly hint at impending violence. Jade Leung and Hon-wai Yuen complete the picture with on-point costume designs. Sharp tailoring choices stand out. Everyone loves a great suit, right? Even if the wearer has nothing to say.
Riverside Studios doesn’t seem an obvious venue for this avant-garde import that began life in Hong Kong in 2021. They deserve applause for making such a bold programming choice and snaffling a European premiere. My tip? Open your mind and embrace this uniquely meditative example of nonverbal theatre before it heads off on tour. If you buy into it, you’ll find it incredibly rewarding.
Directed by: Shu-wing Tang
Assistant Director: Rocky Wong
Set and Costumes by: Designer: Hon-wai Yuen
Costume Design by: Jade Lueng
Music Composed by: Billy Ng
Sound Design by: Anthony Yeung
Lighting Design by: Tsz-yan Yeung
Produced by: Tang Shu-wing Theatre Studio
King Lear plays at Riverside Studios until 12 May. Further information and bookings available here.
