*****
THERE are currently three productions of King Lear doing the rounds; Michael Pennington is touring the UK in the lead production, Glenda Jackson is to step into the King’s shoes at the Young Vic, and this collaboration between The Royal Exchange, Talawa and Birmingham Rep plays Manchester until May.
Warrington is a masterful actor, arriving on stage with a regal and commanding presence
I have been lucky enough to see Derek Jacobi play the King who descends into madness, and that was always going to take some beating, but there's a real buzz about this brilliant production.
Director Michael Buffong, who has great form at the Royal Exchange having directed two tremendous productions in All My Sons and A Raisin in the Sun, respects Shakespeare’s desire to inject comedy, drama and thrills into this tale of a man losing his grip on reality with real relish and panache.
From the opening scene, when the King’s (Don Warrington) youngest daughter, Cordelia (Pepter Lunkuse), refuses to profess her love for him, the look of utter dismay plastered across Warrington’s face makes it clear which way this play is heading.
Warrington is a masterful actor, arriving on stage with a regal and commanding presence, but by the end portrays a broken and childlike figure. Warrington gives a multi-layered performance while making the audience genuinely feel for his Lear, despite his mistakes.
Lunkuse is quietly effective as the honest Cordelia, while her sisters, Regan (Debbie Korley) and Goneril (Rakie Ayola), resemble a couple of rattlesnakes scheming to inherit their father's land.
Mark Springer is also impressive as Albany, a force for good with superb diction throughout. Likewise, Phillip Whitchurch’s Earl of Gloucester is excellent during one of the most violent scenes in the play.
There is comedy too as Miltos Yerolemou perfectly plays The Fool with impressive timing. Alfred Enoch of How to Get Away With Murder and Harry Potter fame is completely mesmerising as Edgar, his athleticism and knowing comedy provides the production with many high points.
Signe Beckmann’s set might be bare, but the play benefits from this, highlighting the drama and performance. The unforgiving round of the Royal Exchange suits Lear, as Warrington paces the stage, in search of resolution.
At over three and a half hours, this is an epic production and at times the pace does begin to drag. Regardless, this is a thrilling, brutal, funny and poignant Lear.
King Lear is at the Royal Exchange Theatre until 7 May.
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