By William Shakespeare
Directed by Andrew Hilton
Company: Shakespeare At The Tobacco Factory
Venue: Tobacco Factory
Date: Saturday 24th March 2012
Wow! This not only came on, it was significantly better than the earlier experience. I’ve upped the rating to the max, but it can’t really reflect just how good this performance was, with much more detail in all the portrayals, and a tremendous level of energy for the last performance of the run. I’ll cover as many points as I can remember, but I won’t be able to get it all down.
To begin with, I forgot to mention the music which was used so effectively in this production. It was mostly drums and trumpets, with fanfares for the arrival of important people and the like. We were also ‘treated’ to somebody’s musical ringtone for several seconds tonight which was a bit distracting, especially as it occurred during the bit where Regan is trying to persuade Lear to go back and stay with Goneril. They also used sound effects of hunting horns and dogs to convey the sense of Edgar being hunted, and therefore having to take on a disguise.
The opening section was much as before, although Kent and Gloucester were facing each other across the table at the start. Edmund was more clearly uncomfortable with the constant repetition of the story of his birth, not helped by his father mussing his hair, and his desire for advancement shone through in the obsequious way he offered his service to Kent. The entrance of the court was the same, but from our new angle I could see the reactions of the older daughters and their husbands much better tonight, and they were much more affected by Lear’s behaviour than I realised last time. Goneril was much more nervous than Regan, who came across as the more manipulative sister. I thought she might have been the much loved younger daughter at one point, and then along came Cordelia to spoil it all. Lear’s temper was much stronger this time, and his rage sent the other family members scuttling for cover. It made Goneril and Regan’s comments about his changeability quite plausible, and for once I felt they had reasonable grounds for complaint. But I’m getting ahead of myself.
Kent was in my eye-line during Cordelia’s ‘nothing’ speech, and I could see how he approved of her comments. She was in fact being very reasonable, and Lear’s attitude was shown up as being completely deluded; Kent even used the word ‘mad’ to describe it, which didn’t please Lear. The Duke of Burgundy still had his cane with him, but didn’t need it this time, and after the court left, Edmund discussed the bastardy issue with us as usual but didn’t crumple the letter. As the servants cleared the soft furnishings, one threw the circlet onto the throne rather dismissively tonight.
The fool’s performance was much clearer than before, and he was very snappy with Lear in his opening scene, due to Lear having sent Cordelia away. I didn’t hear his lines ‘for so your eyes bid though your mouth…’ tonight, although there were other places where I heard lines I wasn’t used to. When he and Lear were sitting, waiting for the horses to be brought, Lear was more reflective this time.
I noticed the servants giggling behind Regan and Edmund when Kent was insulting everyone at Gloucester’s house, and it seemed clearer this time that Regan and Goneril were working out how to handle their father on the wing. Lear refused to weep at their mistreatment of him, but just then the thunder started, as if nature would do the weeping for him.
The fool didn’t give Poor Tom the close scrutiny he had last time; he was much more concerned about Lear. The blinding scene wasn’t any gorier from the other side, although my own vision was partly obscured by a combination of eyelids and hands. Edgar’s closing lines were a fitting ending, suggesting a brighter, if sadder, future. The rest was as before, and we left very happy that we’d seen such a tremendous performance.
© 2012 Sheila Evans at ilovetheatre.me