Review: King Lear (Crucible Theatre)

Review by Bella Flynn Haddon

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At a time where theatre was moving away from traditional works, the Crucible Theatre in Sheffield was created specifically as a love letter to Shakespeare. Its Globe-like in-the-round layout really transports you back in time, making you feel like the source material is coming home. This year, King Lear and Twelfth Night are playing at the Crucible and the historic double-bill of the Bard’s tragedy and comedy feels like it was supposed to happen. But, can Shakespeare’s works translate well for a Sheffield audience today, or does the never ending iambic pentameter make it just a little too confusing?

Originally written in 1606, King Lear is a story of power, family, madness and betrayal. The story begins with the King telling his three daughters to prove their love for him in order to claim the largest part of his land. But when one daughter, Cordelia, refuses he banishes her from the Kingdom. It then follows the two other daughters as they attempt to overthrow the King, along with the illegitimate son of the Earl of Gloucester, Edmund. 

If you are able to get past the traditional Shakespearean language, the story is thrilling and has a heartbreaking sense of the consequences to each character’s actions. While at times I will admit I found it a tiny bit hard to follow, the delivery of the cast, paired with Shakespeare’s humour had me both laughing and on the edge of my seat, waiting to find out the fate of Lear and his daughters. 

The production is directed by Titas Halder, who brings a refreshing take on Shakespeare’s greatest tragedy. Halder is currently the Associate Artistic Director of the Donmar Warehouse, and his creative vision is so clear across the production. Between the strength of the female characters, deeper focus on the tragedy of Edmund and comedic contrast provided through the character of the Fool, you can see his care for the material and individual creative take. 

The cast is led by Tony and Olivier award-winning actor Ian McDiarmid, who is probably best known for his role in Star Wars, however he is no stranger to the works of Shakespeare. In 2005, the legend starred in Edward Bond’s retelling of King Lear also at the Crucible Theatre, so it’s no wonder he felt so natural in this role. His portrayal of Lear’s declining mental state felt authentic, and although the character was supposed to be egotistical and vain, I found myself really caring for the King and feeling for him throughout his journey. 

Lear’s daughters Goneril, Regan and Cordelia were played by Katie Wimpenny, Justina Kehinde and Bebe Sanders respectively who each gave truly stunning performances. Wimpenny and Kehinde almost bring an ugly stepsister feel to their roles, really making you understand their pettiness and ambition. This makes for a lovely contrast with the more understated performance of Sanders, allowing the audience to understand how Cordelia came to be the favourite daughter of the three. Their initial monologues immediately showcase the nature of each character: Goneril and Regan’s desire for power and Cordedelia’s insistence on staying true to herself. 

However, for me the highlights of the show were easily Fode Simbo as Edmund and Max Revell as the Fool. Dr Sophie Duncan, dramaturg for this production, explores how Edmund could be seen as the central protagonist, adding an intriguing vulnerability to the character. He delivers a soliloquy towards the beginning of the play about the tragedy of being an illegitimate child and the inequality he faces as a result. Simbo’s performance embodied this flawlessly, almost justifying the atrocities he commits later down the line within his attempts to banish his brother and overthrow the King. Revell as the Fool brings some much needed physical comedy to the role, with his speciality in breaking and popping shining through. Although it took a while to adjust, the contrast this character brings to the tragic material is a welcome one and the role becomes critical to the audience’s understanding of Lear’s descent into madness. 

The set is made up of a dirt base with a metallic backdrop, with some creative changes after the interval. It is successful in transporting you to this deserted area and I really enjoyed the dirt having a physical effect on the actors’ appearances. However, I would have loved to see a little more from it. With the language being difficult enough to follow as it is, the lack of set changes did not help with differentiating the scenes from one another and the production could have benefitted from a bit more change. 

This production brings a modern, creative touch, while still holding true to the original material. If you can get past the Shakespearean language, this production is a real treat with gorgeous performances and an interesting take on what is often considered a sub-plot. For fans of the Bard, this production is not one to miss. 

King Lear plays at the Crucible Theatre Sheffield until 19th September. Tickets from https://www.sheffieldtheatres.co.uk/events/king-lear

Photos by Johan Persson