Skip to main content

REVIEW: King Lear at the Stratford Festival

int(100636)
iPhoto caption: Photo by David Hou
/By / Jun 4, 2023
SHARE

Paul Gross is excellent.

Forgive me, yes, he’s engrossing.

For many, that’ll be the whole review right there, the justification for folks to head to Stratford and see their film and TV hero shine brightly at the centre of a meaty Shakespearean drama. Gross feasts on the Bard’s prose for all its worth, ably mining the shadowy depths of King Lear’s descent into madness.

The rest of Stratford’s Lear isn’t bad either, with some lovely performances and aesthetic flourishes. Director Kimberley Rampersad pursues a dark and desolate visual identity for the sprawling work, featuring a set by Judith Bowden that’s all harsh edges and black paint, a fittingly hopeless landscape for a king becoming untethered from his kingdom. 

Much of Chris Malkowski’s lighting is oppressively white, kitting out the set in thin strips of fluorescent glow and bringing a sort of futuristic dire to the brutal shapes of Bowden’s topography. Meanwhile, Michelle Bohn’s costumes mix past and present styles to occasional success — though the men’s clothes generally feel more cohesive and thoughtful than the women’s — but when the mixing of eras works, the technique suggests a timelessness to Shakespeare’s ever-relevant text.

Some visual moments breathe just a hint of whimsy into the otherwise deathly serious production — a deluge of tiny plastic balls to suggest rain, for instance — and Rampersad makes smart use of that dark, dark set, which reveals itself to be increasingly modular as the play progresses.

But Lear’s no Lear without the humans at the centre of the play.

The trio of pained sisters are all in fine form here, particularly Shannon Taylor’s relentlessly ambitious Goneril. Déjah Dixon-Green’s Regan and Taylor are talented on their own but unstoppable together, each nurturing the heartlessness necessary to kill their father (and undermine each other) while Tara Sky’s wide-eyed Cordelia watches carefully from the sidelines, waiting for the perfect moment to act.

And the side characters, too, are excellent, with Stratford favourites like Andre Sills doing what they do best — fleshing out subplots with levity and wit, but never upstaging the central action. Sills’ Edgar is winningly complex and airy, pairing well with Michael Blake’s simmering Edmund, the bastard son in search of legitimacy. Anthony Santiago’s Gloucester, too, is a standout, and Rampersad’s stretched out the eye-gouging scene with toe-curling gurgles and plops.

This is a meaty Lear with surprising bouts of humour, but it’s hard not to feel a little Lear’d out, if I’m being honest. Soulpepper presented a wonderful production of the play last year, with an astonishing cast and a companion play, Queen Goneril, to temper some of the misogyny of Shakespeare’s opus. Add to that the recent (and excellent) conclusion of HBO’s Succession, perhaps the best Lear-suggested media in recent history, and you may find a large portion of Toronto-based audiences feeling weary of this story and its drudgery. 

And while Stratford’s King Lear is refreshingly efficient, swishing in just under three hours (an impressively short run time for this play!), I almost wish Rampersad had luxuriated a little more, finding pauses to percuss against the velvety language and tangle of subplots. Much of the production hurtles forward at a breakneck pace, and for me, words got lost, particularly when actors were facing upstage, their lines garbling against the set. While the Festival Theatre can feel surprisingly intimate from the lower-level seats, I was surprised at the extent I struggled to make out text, as if watching from a great distance — I fear what might be lost further back.

Look, if you love Lear as a text, or Gross as an actor, this production will likely be a winner for you — even more so if you missed Soulpepper’s duo of Lear plays last year. Otherwise, there might be other Shakespeares (or the intensely wonderful Casey and Diana) to check out at the festival this year.


King Lear plays at the Stratford Festival through October 29. Tickets are available here.


Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.

Aisling Murphy
WRITTEN BY

Aisling Murphy

Aisling is Intermission's senior editor and an award-winning arts journalist with bylines including the Toronto Star, Globe & Mail, CBC Arts, CTV News Toronto, and Maclean's. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June.

LEARN MORE

Comments

Leave a Comment

Your email address will not be published. Required fields are marked *


/
the last timbit iPhoto caption: Photo by Dahlia Katz.

REVIEW: The Last Timbit is a surprisingly charming commercial gem

The Last Timbit, a show of snow and sweets, had a limited run at the Elgin Theatre in June and is getting a streaming release on Crave on August 12. I, for one, am more than curious to see how a wider audience will react.

By Andrea Perez
company of fools iPhoto caption: Photo by JVL Photography.

REVIEW: An unabashedly feminist Macbeth hits all the right notes in Ottawa

Kate Smith's pointed interpretation of the classic tragedy is a definite highlight and forecasts riveting things sure to be in store for Fools’ future programming.

By Eve Beauchamp
A collage of photos from the productions reviewed iPhoto caption: Photos courtesy of the productions photographed. From L-R, top to bottom: The Apartment, MONKS, the bluffs, Colonial Circus, Rat Academy, Remembrance, Koli Kari, Escape From Toronto, and Sheila The Musical.

Toronto Fringe’s New Young Reviewers 2024 | Round One

The first round of reviews from the Toronto Fringe's New Young Reviewers program is here!

By Toronto Fringe New Young Reviewers Program
mary's wedding iPhoto caption: Photo courtesy of Lighthouse Festival Theatre.

REVIEW: Lighthouse Theatre brings haunting edge to Mary’s Wedding

If you, like me, enjoy touching tales of love and loss, then you’ll be happy you saw Mary’s Wedding, even if you leave in tears.

By Mae Smith
Poster for the 2024 Toronto Fringe Festival. iPhoto caption: Poster courtesy of Toronto Fringe.

REVIEWS: Toronto Fringe 2024

This collection of Toronto Fringe Festival capsule reviews will be updated throughout the festival with writing from eight different critics.

By Alethea Bakogeorge, , Ryan Borochovitz
shaw festival iPhoto caption: Production still from The Secret Garden by Michael Cooper; production still from One Man, Two Guvnors by David Cooper.

Shaw Festival review: A fabulous physical comedy and moody garden show off the festival’s extremes

If all is fair in this world, One Man, Two Guvnors will be a smash for the Shaw Festival. The Secret Garden is a more mixed affair, but Gabriella Sundar Singh shines in the title role.

By Aisling Murphy