King Lear, veteran Oxford director Simon Tavener says, is in essence a family drama. Yes the violence and dystopian excitement of cities in mutiny, countries in discord and treason within palace walls are inescapable and vital, but this play hinges first and foremost upon Lear and his daughters, Gloucester and his sons and the conflicts that rip flesh from blood. Think of this production from the highly acclaimed Oxford Triptych Theatre, then, as a sort of 18-rated Shakespearean soap opera, with special effects and modern dress added for good measure.
There is a lot that works in this production. The casting is strong and the dynamic interaction between fully-fledged stage actors and first-years taking their baby steps out onto the Oxford platform is enjoyable to watch. Jonathan Sims plays the bastard Edmund with the delicious darkness characteristic of somebody whose theatrical resume reads like a who’s-who of villainy. However while twisted smirks and spine-chilling understatement work for this actor, Goneril, played less magnificently by first year Amelia Peterson, feels more like a sneering Ugly Sister than a cruel and murderous usurper.
For an actor more at home in sketch comedy, Dominic Bullock as Gloucester makes the change to tragedy well. The wronged brother Edgar, played by Oxford-stage virgin Joe Robertson, is a revelation. As moving in one scene as he is mad in the next, he is certainly one to watch over the next few terms.
A strong supporting cast is what keeps this play afloat; what lets it down is Lear himself. If, as the director tells me, the madness we encounter should not be insanity, but manifestations of anger, then unfortunately Colin Burnie’s performance falls short. His arrival on stage is like the welcome return of a doddery old war veteran and though many of the best and most terrifying speeches are delivered with tempestuous rage, the illusion is not maintained and hints of cuddly granddad sneak in. For most of the time he was just not angry enough for me; one might be forgiven for thinking that they have sought to develop a diagnosis of senility rather than develop a character whose fury consumes his every thought and word.
We are told that this production will feature billowing smoke, distorted voices and sounds from nature that conspire to invade the mind of Lear as he battles the stormy elements. While this all sounds exciting, I hope that the director exercises moderation so that the emphasis put on characters and successful storytelling is not compromised. Yet, for a clear presentation of a complex classic, viewers could do worse than seeing this enjoyable, generally well-acted, but far from life-changing production.
Three stars
OFS Studio Tuesday 28th April – Saturday 2nd May
