Review: King Lear, Crucible Theatre, Sheffield

The plot of Shakespeare’s King Lear is well known: an aged king divides his kingdom between his three daughters based on which of them he perceives loves him the most. His elder daughters, Goneril and Regan glibly declare their love whilst the youngest, Cordelia, refuses to flatter him and is banished. Lear’s actions ultimately bring about his tragic downfall as he is betrayed and outcast.

In this production from Sheffield Theatres in association with Michael Grandage Company, Richard Kent’s set design is dark, brooding and cold. There is no opulence or warmth in this kingdom, only stone, sand and mist. A large stone circle is cut into the stage floor giving an apposite, intense feeling of an actual crucible in this most excellent of theatres. The lighting (Ryan Day) is dim and shadowy, portending doom. The one exception is Lear’s first entrance. He is bathed in light, wearing a white robe while the other characters are in dark costumes. This clever symbolism of his presence – initially powerful – continues throughout the production as the deterioration in his mind is mirrored by his increasingly stark appearance.

The performances of the entire company are excellent. Each actor is absolutely convincing, delivering Shakespeare’s language naturally and transparently, just as he himself instructed in Hamlet. There are moments of humour throughout, adding some welcome comic relief, but ultimately this is an uncompromising tragedy with no hoped-for happy endings.

As the mercurial Lear, Ian McDiarmid is totally captivating, utterly believable as an irascible and vain king descending into confusion through adversity, anger and guilt. Lear is a tough role, physically and mentally demanding but McDiarmid is incredible; his performance is pitch perfect and his stamina and energy belies his 82 years.

There is extraordinary physical acting from Max Revell as Lear’s Fool. His movement is deliberate and controlled, with acrobatic dance skill. His body contorts with almost superhuman motion which is fascinating to behold. Revell wears a modern yellow sports top, further distancing the Fool from the other characters. Lear mirrors him, as the Fool is the only character who can speak truth to power without consequence, almost metamorphising into him as his movement and language gradually become reminiscent of the Fool’s.

Mark Holgate is perfect as the Duke of Kent. Shakespeare often has characters in disguise in his plays which can sometimes stretch credibility. Not here; Holgate’s face is camouflaged, and he adopts a different accent while his physicality and costume are adapted so even Lear does not recognise his banished loyal courtier.

The recurring theme of treachery and loyalty continues in Shakespeare’s sub-plot of Gloucester’s bastard son, Edmund (Fode Simbo), who manipulates his father into believing his brother, Edgar (Harry Redding), is disloyal. The bleak setting and graphic onstage violence (fight direction by Yarit Dor) is intense. As Gloucester (a superb David Birrell) is blinded on stage before a totally spellbound audience the atmosphere in the Crucible is palpable.

Additionally, when defeated Edmund admits his guilt and confesses he has ordered the execution of Cordelia (Bebe Sanders) the audience is on the edge of their seats waiting to see if she will be saved.

Another theme is that fate is governed by the stars and people are powerless, as stated by several characters. When Edmund and Edgar fight, a huge eclipse appears on the back wall and eerie music plays, adding further to the mood, power and intensity of this production.

I’ve never before seen King Lear live in the theatre and I feel privileged that this was my first production. I know I will never see a better one.

Written by William Shakespeare

Directed by Titas Halder

Set & Costumes Designed by Richard Kent

Lighting Designed by Ryan Day

Composed by Sarah Angliss

Sound Designed by Emma Laxton

Fight, Movement and Intimacy Direction by Yarit Dor

Associate Fight Director Enric Ortuño

Casting Director Matilda James

Dramaturg Sophie Duncan

Associate Director Vicky Moran

Voice & Text Coach Barbara Houseman

Assistant Director Marc Small

A Sheffield Theatres Production in association with Michael Grandage Company

King Lear is presented in association with Michael Grandage Company and completes its run at the Crucible on Saturday 19 September.