Kenneth Branagh plays the title role in a new production of William Shakespeare’s King Lear, set in the barbarous landscape of Ancient Britain. Featuring a cast of rising stars from the Royal Academy of Dramatic Art directed by Branagh, this production releases the play’s power and turmoil in a fast-paced staging.
In playing Lear, Branagh completes a trifecta of great Shakespearean tragic roles, complementing past appearances as Hamlet in his Academy Award–nominated film version of the play (1996) and on stage as Macbeth in a celebrated immersive production (2014). This strictly limited, exclusive US engagement of King Lear runs for 50 performances only.
In this production, directed by a tripartite directing team (Rob Ashford, Lucy Skilbeck, and Kenneth Branagah, one of our great contemporary Shakespeareans, who also stars as Lear), it’s a brisk unspooling. Having shaved the text down to a 2-hour running time with no intermission, the breakneck pacing doesn’t give the audience a chance to absorb the gravity of the drama or recognize the mounting stakes. One scene bleeds right into the next, which levels the play’s biggest moments.
Shakespeare never lacks for juicy insults, and King Lear is especially thick with verbal abuse. The unhinged title monarch viciously curses his daughter Goneril with rot in her ovaries and there’s a comically long string of invective the disguised Kent heaps upon villainous servant Oswald in front of Gloucester’s castle. In the trimmed version now running at The Shed I particularly miss one put-down—again, between Kent and Oswald. “Thou whoreson zed!” Kent sneers. “Thou unnecessary letter!” Gone from this sped-through, two-hour cut. But what would you expect? This is an unnecessary Lear.
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Public Theater Production Off-Broadway |
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Old Vic Revival Production West End |
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Broadway Revival Broadway |
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