Jonathan Miller finds an introspective and understated Lear in Barrie Rutter.
Both Northern Broadsides and their Artistic Director Barrie Rutter have played against type to great effect in this new touring production. Broadsides often fill their stage with a riot of detailed sets and movement but for their new Lear, designer Isabella Bywater has pared everything back to a square raised acting area on an empty black stage, throwing the performers into sharp relief.Not only does this have the effect of deepening the darkness of what must be one of Shakespeare’s most doom-laden tragedies, but it also heightens the senses of the audience to the action.
Here is a very strong cast. Helen Sheals and Nicola Sanderson’s Goneril and Regan have their scheming thinly veiled, while Catherine Kinsella’s Cordelia finds a balance that leaves us unsure how far we can trust her. Al Bollands has side-stepped into the role of Edmund part way through the tour but his command of the Machiavellian bastard son is truly disturbing. Jack Wilkinson is a sympathetic Edgar, and his loinclothed, mud-daubed transformation to Poor Tom is delicately done. Andrew Vincent and John Branwell are also well cast as Kent and Gloucester, and Vincent effects his disguise as Caius convincingly.
The true revelation of the production, though, is Barrie Rutter’s Lear. Not noted for underplaying roles (remember Rutherford and Son, also under Miller’s direction) here he is astonishing in his restraint. There is all the necessary bluster in the early scenes, but as Lear descends into madness, Rutter appears to shrink back within himself and the effect is both painful and deeply moving. The storm scene too, whilst suitably terrifying, is staged for drama rather than, as is often the case, for histrionic effect, and the blinding of Gloucester is discreetly dealt with in a shroud of mist.
Both Fine Time Fontayne’s shabby Pierrot of a Fool and Jos Vantyler’s scheming, foppish Oswald manage to get the laughs whilst never losing the darkness of their characters.
There are good supporting performances from the remaining cast, notably Ben Burman who has stepped in to play France, a Knight and a Soldier, parts previously occupied by Al Bollands before his mid-tour role change.
Northern Broadsides can always be relied upon to fill houses, but they also have the capacity to surprise, and this production stands out as a prime example of their versatility as a company.
King Lear continues its tour via The Lowry Salford, York University, Rose Theatre Kingston and Newcastle New Vic until 13th June.
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| Barrie Rutter as King Lear - Photo (c) Nobby Clark |
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