Review: KING LEAR, Barbican, 15 November 2016

The Royal Shakespeare Company's production of King Lear has transferred to London's Barbican for its winter season. It's being performed alongside Cymbeline, another play set in ancient Britain that concerns the tribulations of an eponymous monarch. The themes of both plays remain relevant to this day; Brexit and David Cameron's resignation from the post of Prime Minister are just two clear parallels.

Niki Turner's design leaves the stage completely bare. It certainly takes minimalism to the extreme, though occasionally to the extent of appearing a bit amateurish. Lear facing the storm is a turning point in the story and, as such, is often played up in productions - the series of flashing lights as Lear and the Fool are raised up on a cloth-covered podium is not particularly inspiring.

There are some exquisite and elaborate costumes on display, most notably in the opening scene with the daughters' fine, shimmering dresses and Lear's magnificent furs. The Fool, however, is a bit disappointing visually. Dressed simply in white, but with the addition of ridiculous headgear: a traditional peasant's cap with large red bobbles attached. Just because he's known as the Fool doesn't necessarily mean he needs to look like a cheap clown.

There are some strong performances from the company, in particular Paapa Essiedu as a very slippery Edmund. Essiedu finds a surprising amount of dark comedy in the role, making him irresistible to watch. He may be one of the villains of the piece, but it's hard not to wish he had more stage time. Oliver Johnstone's latter scenes as Edgar tends to his blinded father are quite touching, his caring nature perfectly countering that of his illegitimate half-brother.

Antony Sher takes the title role, but is easily overshadowed by David Troughton as the Earl of Gloucester. Whereas Sher is often quite monotone, and occasionally seems to slur his lines, Troughton's delivery is impeccable and engaging. Gloucester's pain at losing his eyes and torment at being abandoned is heartbreaking. His portrayal of the ultimately loyal, but doomed, nobleman is a true masterclass in Shakespearean acting; Troughton steals the show.

On the whole the production seems to lack a bit of ambition, though it is a good test of stamina with a first act that comes in at nearly two hours. Redeemed by some standout performances, it's definitely not for the faint-hearted.

King Lear at the Barbican until 23 December

Picture credit: Ellie Kurttz © RSC

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