Review: KING LEAR - Royal Exchange Theatre (08/10/26)
Threlfall excels but direction flounders in first Shakespeare production of Cartmell era
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It is a testament to Shakespeare’s inclusivity and forward thinking that he consistently wrote lead and supporting characters across all ages and experiences, from the bloom of youth we associate with the title characters in “Romeo & Juliet”, to the formidable elder stateswoman Queen Margaret from two of his more popular histories. This notion is best expressed through one of his most sought after roles being that of Lear, one of the most demanding and emotionally complex in his entire canon, and consequently one that is reserved for actors of considerable experience and ability.
Enter acting veteran David Threlfall who, though best known for his television roles such as Frank Gallagher in “Shameless”, is arguably one of this country’s foremost practitioners of the bard’s work. Not only this but, perhaps appropriately during this 50th anniversary season at the Royal Exchange Theatre, Threlfall is experiencing his own homecoming of sorts, as he has his own long and storied history with this most unique of theatres, first performing here back in 1986, and regularly appearing over the course of the following 13 years. In many ways he is perfectly placed to take on the role of Lear, it's just the baffling decision taken by director Matthew Dunster to have him also double up as the Fool, removing the latter character from proceedings completely which, more than anything, proven a hindrance to the title character's own exploits and hardships.
Due to the intimate nature of the Royal Exchange’s circular auditorium, with the absence of backdrop capabilities often limiting what can be achieved in terms of set design, this adds an extra degree of challenge for directors, and iot has to be said that Dunster has absolutely made the most of the space, with several impressive set pieces designed by Anna Fleischle, including a series of chains hanging from the ceiling, rising and falling as needed, figuratively linking the series of betrayals on which this story is focussed; the cracked floor is also a wonderful piece of design, and combines superbly with Lucy Carter’s lighting, which in and of itself does a lot of the creative heavy lifting.
Though undoubtedly there was a good amount to admire and appreciate about this production, lamentably we never feel the immense depth or intensity that is so synonymous with this most devastating of tragedies, with several moments and scenes unnecessarily played for laughs when the various plot strands in particular just didn’t call for it. All that aside though, much of the direction just feels a touch flat, especially in the first act, from the opening scene that comprises a royal court gathering more reminiscent of a cheap wedding party, which proved nauseating rather than successfully expositional, and overall it took far too long for us to feel any kind of lift from the narrative.
Once the third and fourth acts hit though, this is when we really start to get to the core of the story, and the most substantial material is thankfully given its due care and attention, it's just a bitter shame that the build to this point felt like it lacked drive or momentum. And it is clear the cast have done the absolute best they can under what comes across as fairly restrictive direction, as sadly freedom of expression feels quashed somewhat, and constantly raised voices seem to be the default. This unfortunately has taken away from the intensity and build of tension that we expect from Lear, as well as both the pathos that we are meant to experience for the title character, and the nuance in how his daughters are usually presented.
Were it not for the success with which the play's climax is executed, there would have been very little for which we could admit to feeling for any of the characters or their plights, though there were still some brilliant performances, especially from Threlfall himself who, in spite of basically acting with one hand tied behind his back, still gave us a marvellously well balanced and discernibly graded performance. Equally Jonathan Slinger excelled as Gloucester, depicting the Earl's naïvety, hubris and subsequent downfall with great assuredness, whilst there was an endearing solemnity about how Isobel Akuwudike played youngest daughter Cordelia, in a stunning professional stage debut.
The expectations going into this play, with its inbuilt doom and gloom, and reputation as Shakespeare's most devastating, ultimately led to an evening frustration over the unevenness and inconsistency of the story's presentation, with the intensity and drama often lacking in punch, and too often being punctured by unnecessary humour. There is no doubt in anyone's minds that Selina Cartmell has made a hugely positive impact on the Royal Exchange Theatre since her appointment as artistic director, with her bold, innovative programming capturing many of our imaginations during her inaugural season thus far, however this first foray into the bard's work was a rare misfire.
★★☆☆☆ (2*)
"King Lear" runs at the Royal Exchange Theatre until the 15th of November (tickets)
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