Until seeing this production at Bard on the Beach, I had forgotten how many poignant lines are contained in King Lear, such as Lear’s warning that “Nothing will come of nothing” and one of the fool’s (Scott Bellis) many thoughtful lines, “Thou shouldst not have been old till thou hadst been wise.”
This cast infused so much passion and earnestness into their performances that I was reminded how epic this tragedy of betrayal and conspiracies truly is. Benedict Campbell as King Lear deserved his enthusiastic standing ovation, and the playful repartee between Goneril (Colleen Wheeler) and Regan (Jennifer Lines) shows how much fun they were having with these roles — the audience loved it.
King Lear, the King of Britain, decides to retire and divide his kingdom between his three daughters. He asks them how much they love him to decide who should get the larger share of land. Goneril and Regan profess their love in lengthy speeches, but his youngest daughter, Cordelia (Andrea Rankin), is banished when she speaks honestly. Lear plans to stay with Goneril and Regan for one month at a time since he gave up all his possessions, but he soon learns that his older daughters are conspiring against him with the help of their husbands.
Edmund (Michael Blake) was another star of the show with his cheeky winks to the audience, making us all accomplices in his devious plot to usurp his brother’s position and become his father’s heir. The Earl of Gloucester (David Marr) falls for Edmund’s scheme, and his legitimate son, Edgar (Nathan Schmidt), disguises himself as Poor Tom the beggar to escape persecution — his portrayal of this ragged madman was spot on.
Madness and the ability to perceive the actions of others clearly are central themes in this play, and this production presented those brilliantly through careful staging and a very clear delivery. The gruesome scene where Gloucester’s eyes are ripped from his face, a very delicate scene to perform, was done with just the right amount of realism. The audible gasps and groans as audience members averted their own eyes was a good measure of this.
During the final, heart-wrenching scene with Lear walking forward, Cordelia in his arms, the tent was silent, the audience wrapt.
The simple wooden set was adorned with sparse furniture, and the fog machines added the right spooky tone to King Lear’s trudge through the storm. One of the best things about Bard on the Beach being in an open-backed tent is moments when the world outside the tent melds beautifully with what’s onstage. In a scene where leaves were scattered over the stage, the breeze coming in the tent blew them around adding a special touch to this marvellous production.
King Lear is presented by Bard on the Beach in collaboration with Theatre Calgary June 18 to September 20 in the mainstage tent at Vanier Park. For more information, visit bardonthebeach.org.
