Te Whaea Theatre; Fortune Theatre
Aug 1-5 (Wgtn); 10-Sept 1 (Dun) | Reviewed by Melody Nixon

King Lear is hailed as one of the most tricky and multi-layered of Shakespeare’s magisterial tragedies: producing it requires great sensitivity to the motives and inflections of each of the characters. It can be argued that aside from the consistently evil Edmund each of the characters has very human and contradictory moments of self-doubt, reflection and sorrow. The most striking aspect of this production from The Bacchanals then is the successful interpretation of the characters and of script. Every nuance, aside and satirical comment seems carefully studied and understood. The result is a confident production which veers into creative interpretation at times but generally works to serve the script.

A few select elements of the play have been modernised; occasional use of slang such as “mongrel bitch” reveals this, as does the costuming which brilliantly and simply shows links between family and kin. The language has undergone a very subtle modernisation and one which happily does not detract from the poetry, placing or tone of Shakespeare’s script. The use of colour to explain potentially confusing links between players is a clear and effective device which frees up maiden King Lear viewers to focus more intently on the drama at hand.

Daughter Regan, embodied in all her feistiness and deception by Jacqueline Nairn, is dressed in blood red and the colour is reflected in the shirt of her husband The Duke of Cornwall (Alistair Browning), and the scarves of their servants. Likewise Regan’s collaborator then competitor Goneril (played by a more measured Amy Tarleton) is dressed in green; as are her husband, The Duke of Albany (the very consistent and endearing Phil Grieve) and servants. The third sister Cordelia (smoothly played by Erin Banks, who also provides a beguiling Fool) is given the white of purity, as she remains true to her father against her sisters’ treachery. These colours are used too for the letters passed family to family, harbingers of grief and trickery. Our attention is thus drawn to the symbolism of these letters and again potential confusion is overcome as we immediately identify where each letter belongs.

The tension and viciousness between the three sisters, particularly in early scenes, is captured fluidly by Nairn, Tarleton and Banks. The descent of Regan and Goneril into greed and power-lust is interestingly matched by their increasing sexualisation; Regan in particular becomes temptress-like and seductive, her part in the blinding of The Earl of Gloucester a veritable – albeit gruesome – lap dance. Here director David Lawrence is perhaps suggesting a correlation for Shakespeare between ‘evilness’ in women and sexual expression; or the use of sexuality as a tool to gain power; a link which is perhaps not as often explored in Shakespeare’s works as it could be, hinting at an uncomfortable kind of old world misogyny.

As the aforementioned Earl of Gloucester, Bruce Phillips provides a powerful, completely engaging and at times stunning performance. Phillips clearly and emotively engages in the play’s pivotal dialogue, crystallising the central deception with his bastard son Edmund (played by with strength and conviction by Alex Greig). The scenes between the two sudden opponents are some of the most enjoyable of the production.

The choice of a kiwi accent and highland man dress for Malcolm Murray, to demonstrate his position as a fallen Earl, is an interesting and political choice that verges on the Pakeha post-colonial. This is an idea which opens up many possibilities; one could only imagine the effect if it was taken further and, for example, the entire cast adapted kiwi accents in their relative downfalls.

Literal and thematic symbolism is gratifyingly given much attention in this production. As well as the added weight certain objects gain (rope, the letters, The Bacchanals much loved suitcases) in their use and positioning on stage, themes such as emptiness and nothingness are richly explored. As the Earl of Gloucester states, “The quality of nothing has not such a thing as a need to hide itself.”

With a minimal budget the set, lighting and sound design manage to inform and assist drama effectively, focusing viewers’ attention on the action and allowing some degree of imagination to fill in gaps. Lighting by Joshua Judkins and Sound by Walter J. Plinge combine brilliantly to capture the bleakness and despair of the mighty storm in the play’s middle; where the Fool, Lear and Knave gather in misery under this storm the dampness is tangible.

Mick Rose has undoubtedly impressed everyone with his three week adoption into the role of Lear, following the illness of first-cast Edward Petherbridge. Rose has grace and empathy as Lear, and particularly in final scenes he outlines the essence of the tragedy with believable emotion. As Edgar, Sam Snedden was a little difficult to hear and relate to on opening night; when Edgar becomes outcast and wraith-like Snedden’s voice is almost indistinguishable.

Overall opening night show in Wellington lagged a little due to nerves and the lack of rehearsal time; however I am told the production gained much in impetus and skill and by the end of its Wellington run it was stunning audiences. For those who wish to see an intelligent and accurate interpretation of a mighty script, The Bacchanals’ King Lear is definitely worth attending in Dunedin, as it completes its season at Fortune Theatre in one week’s time.