King Lear
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Cititour.com Review
“Uneasy lies the head that wears the crown,” wrote William Shakespeare. But even at age 82, the extraordinary Glenda Jackson makes taking on the role of one of the Bard’s most demanding roles – and demanding monarchs – the feisty, flinty and ultimately forlorn King Lear seem like the simplest of tasks in Sam Gold’s new Broadway production of this great tragedy, now at the Cort Theater.
Having seen nearly a dozen of the world’s greatest actors tackle this role over the past two decades, Jackson towers above the rest. Not physically, of course; in her simple man’s suit by Ann Roth (yes, she’s King Lear, not Queen Lear), she’s both a petite and petty tyrant. Her Lear is quick to anger and bellow when she doesn’t get her way – which happens often after she unwisely and prematurely gives away her kingdom to her two scheming daughters, Goneril (a deliciously haughty Elizabeth Marvel) and Regan (a shockingly shrill Aisling O’Sullivan), and disowns her loyal but headstrong youngest child, Cordelia (a superb Ruth Wilson, who also brilliantly doubles in the more comic role of Lear’s Fool, showing much-needed strength in both parts).
When Lear is finally driven to semi-madness late in the play, Jackson is truly heartbreaking, wandering around spouting semi-nonsense, her sharp mind almost as tattered as her clothing. And when this Lear truly and literally comes to his senses – realizing the wrongs he has done to those who love him – the transformation is truly beautiful to behold. As Jackson’s Lear demonstrates a long-absent wisdom and gentility, you fervently wish for a happier ending than you know a Shakespearean tragedy is going to give you.
As you might imagine, Jackson’s incredible turn is not just one of the finest of the season – or maybe any season; sadly, though, it’s practically the only good reason to sit through this misguided 3 ½-hour production. Gold, a provocative auteur-like helmer who has proven he can handle Shakespeare, unwisely takes a more-is-more approach to “Lear.” With its many subplots, characters in disguise, and not-always-believable motivations, the play demands absolute clarity for its audiences (especially those less-than-familiar with the text) to follow it. But Gold, rather perversely, can’t seem to be bothered to accomplish this vital task.
For example, Lear’s closest ally, the unfairly banished Kent, spends the entire play essentially undercover as a servant named Caius whom no one recognizes; yet, all Gold does is have the excellent John Douglas Thompson, in his tough-yet-tender mode, change into a pair of jeans. Moreover, the reveal of many of the plot’s densest twists and turns seem rushed; you can easily miss why Regan falls dead at the play’s end or never fully understand that Cordelia’s husband, the King of France, is the one waging war on Lear’s now-divided kingdom.
The production’s problems extend to much of the acting. As the villainous Edmond, the entertaining Pedro Pascal practically twirls his non-existent mustache; the deaf actor Russell Harvard comes off as unnecessarily angry as Regan’s husband, the Duke of Cornwall; the usually sublime Jayne Houdyshell (also in male drag) captures the general goodness of the supremely wronged Earl of Gloucester, but somehow never really moves us; and Sean Carvajal – so wonderful in Signature’s “Jesus Hopped the ‘A’ Train – is surprisingly bland as Gloucester’s son, Edgar, the noble soul forced to act as a madman to save his own life.
Worse, still, Miriam Buether’s extremely odd set – a huge golden hall that reminds me of a Las Vegas hotel lobby, often hidden by an enormous wall – is totally unsuitable for differentiating the play’s various locations. And the talented string quartet who play Philip Glass’ often-unnecessary original music often look like they wandered in from some bar mitzvah next door. Gold also throws in a couple of other visually striking yet jarring moments that feel more like a magician’s attempt at misdirection than something authentically warranted by the text.
Ultimately, it’s a thorny proposition if you want to spend the considerable time and money needed to see Jackson’s crowning performance (and, possibly, her final Broadway appearance). But you’ll likely feel like a fool if you don’t.
By Brian Scott Lipton
Visit the Site
https://kinglearonbroadway.com
Cast
Glenda Jackson, Jayne Houdyshell, Elizabeth Marvel, Aisling O’Sullivan, Pedro Pascal, John Douglas Thompson, Ruth Wilson, Sean Carvajal, Dion Johnstone, Russell Harvard, Matthew Maher
Open/Close Dates
Opening 4/4/2019
Closing 6/9/2019
Preview Open/ Preview Close Dates
Preview Opening 2/28/2019
Closing Open-ended
Box Office
212-239-6200
Theatre Info
James Earl Jones Theatre
138 West 48th Street
New York, NY 10036
Map
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