KING LEAR, Shakespeare, RSC tours UK till 9 Nov then Spain,Italy and France

KING LEAR: William Shakespeare
RSC (Academy) at the Swan: Tkts 0870 609 1110
Runs: 3h 15m, one interval, UK till 9 November, then Spain, Italy and France
Review: Rod Dungate, 10 October 2002

Talent to take your breath away in an illuminating and inspiring production
Sixteen of the country's most talented performers, just graduated from a wide range of the UK's drama schools, show off their talent in Declan Donnellan's illuminating production. And, my god, what talent this company has. Each and every one of these performers has made their role their own, time and time again showing a mastery of their material that takes your breath away.

Nonso Anozie plays Lear: Anozie is a big man, he assumes his autocratic mantle with ease. His descent into madness is gradual, identifiable and moving. In the storm sequence we live with him through every torturing moment as he teeters on the edge and eventually succumbs to his break-down. Anozie shows great range and a mercurial lightness of touch: the moments of recognition, first of blind Gloucester then later of Cordelia, are heart-breaking. Watching Anozie you become aware that this actor has a face that allows you to see what's going on in his soul.

Against Anozie, Aishling Howard and Katherine Manners (Goneril and Regan) appear physically slight, but appearances are deceptive. These two women bring weight to their performances: their vicious bullying of their father all the more insidious and frightening because they are so young.

Ryan Kiggell's Gloucester is carefully shaped too. This Gloucester is clearly old-guard his accent, manner, bearing indicate not just old money but old land too. He is kind, a bit of a buffer really and no match for the modern politics of this world. Through his blinding and his wanderings Kiggell's Gloucester acquires huge dignity, humanity and warmth that binds us to him, taking us on his emotional journey.

Everywhere you look in this production Donnellan's intelligence in working from these young people and merging the result into a unified whole shows. Whether it's Edward Hogg's showy entertainer Fool or Steven Robertson's Kent, jealous of the Fool's closeness with Lear. And just see the moment when the Fool, removing Kent's disguise, recognises him in the 'stocks' scene absolutely electric. Then there's the balance between Cornwall and Albany: Kieran Hill's Cornwall, quiet, icy yet chillingly bursting into life as, jacket off, he prepares to blind Gloucester and Matthew Douglas's Albany, bookish, kind, a fish-out-of-water and reluctantly forced to do something he becomes a man of nearly-action.

There are only slight moments when Donnellan has let his production take over to its own detriment. Most notable is the first appearance of the fool with the crowd of knights. The scene is just too boisterous, too boysie: it's a hard enough scene for the fool anyway, but Donnellan has allowed all clarity to be lost and the Fool's microphone adds nothing. The Fool as Lear's ventriloquist is brilliant though, not only incredibly funny but also demeaning for Goneril.

This is a marvellous event. Marvellous for the initiative the RSC has taken and marvellous for the insights the production offers.

Earl of Kent: Steven Robertson
Earl of Gloucester: Ryan Kiggell
Edmund: Adam Webb
King Lear: Nonso Anozie
Goneril: Aishling Howard
Regan: Katherine Manners
Cordelia: Kirsty Besterman
Duke of Albany: Matthew Douglas
Duke of Cornwall: Kieran Hill
Duke of Burgundy: Robert Wynn
King of France: Mo Zainal
Edgar: Bruce Godfree
Oswald: Guy Flanagan
Curan: Dean Ashton
Fool: Edward Hogg
Old Woman: Sarah Everard

Director: Declan Donnellan
Designer: Nick Ormerod
Lighting: Judith Greenwood
Music: Paddy Cunneen
Movement: Jane Gibson
Voice work: Lyn Darnley
Fights: Terry King
Sound: Ross Chatfield

2002-10-11 11:00:45