KING LEAR
Image credit — Marc Brenner
King Lear by William Shakespeare.
In Yaël Farber’s harrowing and striking take, Danny Sapani brings Lear’s insatiable ego centre stage.
Shakespeare’s classic tragic tale is one of betrayal, generational trauma and the dangers of unbridled ambition. The story begins with King Lear dividing his kingdom between his three daughters, Goneril (Akiya Henry), Regan (Faith Omole) and Cordelia (Gloria Obianyo). For them to be deemed worthy of his inheritance, he requires them to declare their love for him in words. When Cordelia offers him “nothing”, she unknowingly sets off a chain of events that end in loss and devastation.
The performances of the sisters are heartbreaking, as the breakdown in their relationship coincides with the breakdown of their father's mental health as well as their respective relationships with him. Despite turning against each other, in the early stages of the performance, Henry and Omole are able to maintain a closeness and tenderness between them. They love each other, however, ultimately their need for power is blinding.
As King Lear, Sapani's ability to shift the energy of a scene is both terrifying and powerful. The deterioration of King Lear’s mind becomes a character of its own, mirrored by the wily ways of Clarke Peters as The Fool. The chemistry between these two characters is amazing to watch, and the choice of Clarke next to Sapani creates the impression that the Fool is a version of King Lear in another life or in another timeline.
Merle Hensel creates a set that is in equal parts hyperrealistic and supernatural. We are introduced to a world that feels like ours, but it becomes clear that there is tension brewing underneath the surface. There are times when it feels like we are watching an episode of Succession, namely one of the opening scenes where King Lear holds a press conference to declare how he will be dividing his kingdoms. On the flip side, as we venture into the infamous storm of King Lear, the curtains of chain that hang behind the actors, the atmospheric sound design by Peter Rice, and the violinists who act like Greek fates throughout the story, all come together to make us feel like we are witnessing an ancient ritual.
Farber’s interpretation, brilliantly executed by the cast particularly in Matthew Tennyson’s performance as Edgar, centres the theme of madness. There seems to be a comfort and blissful ignorance in it, that strongly contrasts the gait and arrogance of Fra Fee’s Edmund. There is also the impression that madness is contagious. In the performances of the supporting cast, the closer they get to King Lear’s family, the further they descend into confusion and eventually fully immerse themselves in the power struggle.
Camila Dely’s costume design brings to light the theme of homelessness in King Lear. The drastic change in appearance of the characters who face exile is visceral and draws a distinctive line between the world of the powerful and their marginalised conditions.
Farber’s King Lear is haunting and memorable. She is able to build a world that is collapsing before our very eyes. With a strong supporting cast that delivers intensity and simultaneously entertains, this rendition of the iconic play is a memorable one.
By Melody Adebisi.
★★★★☆
King Lear is showing at the Almeida Theatre until 30 March.
