By Aashiq
Link: https://www.youtube.com/watch?v=cpS33G8-HyM
Available until: Forever and ever
Trigger warnings: violence, blood, gore, implied vomit,
suicide attempt, flashing lights and lots of death. I got my husband to hold my
hand and I thoroughly recommend it (just not with MY husband. Get your own).
I really wanted to review this one because this is the only
Shakespeare play I’ve been in! I played Gloucester. I’m obviously much too
young and handsome to play Gloucester (I wanted to play Regan), but student
productions tend not to have a very big age range. We got to do some of it on a
trip to the Globe too! But obviously when I’m telling people I don’t always go
into that much detail because who wants to hear details? So I usually just say
‘I played Gloucester in King Lear at the Globe’. I’m not usually
succinct, but I do like to make the occasional exception.
This is probably the best production I’ve ever seen. Online, offline, the imaginary versions in my head (where obviously I’m playing Regan), this production is flipping fabulous. It works so well on Zoom. There’s so much in this play that’s difficult to create onstage and there are lots of moments when characters are watching and feeling and a lot of that would be missed if you’re too far back. Yes, stage productions need to come back RIGHT NOW, ARE YOU LISTENING BORIS? Socially-distanced, of course. But Zoom productions are such a great innovation which don’t just allow us to produce theatre (well, I say us, but I couldn’t do one, Zoom HATES me, it would sabotage me, I know it would), it allows us to perform theatre in new, interesting and relevant ways. But we’ve had our holiday from live theatre, we’re over it now, we want to be able to do live theatre AND Zoom theatre. And I don’t think that’s me being greedy.
What was I saying? The staging. Moments like a certain Edgar
and Gloucester scene (if you know the play, you’ll probably know which one. If
you don’t know the play, watch it and find out) is really difficult to stage
convincingly and attempts to stage it can end up being a distraction from the
relationship between them which I think is more important than where they are.
Zoom allows us to focus on these relationships and the talent of the cast means
it doesn’t matter that most of them have probably never met. There were also
some very vivid special effects like a very convincing thunderstorm and a
fireplace which made me feel warmer just from looking at it.
The acting is the important thing, but good costumes and
make-up can really enhance that and this cast totally smashed it. The make-up
was wild and crazy, but it looked great and it worked. The costumes were very
inventive and, seriously, the number of actors who just happen to have swords.
Why do I not have a sword? We’re not allowed to keep pets here, but I don’t
think there are any rules about offensive weapons. I could threaten my husband
with it next time he tells me not to take the rubbish out in a tiara. (Though
it is a fair point that it might fall into the bin and I’ll never get it out
because just eww.)
Michael Bertenshaw is an absolutely outstanding King Lear.
He speaks the text so beautifully, the scenes depicting his mental health
problems are harrowing, the end just about destroyed me and through all of it,
he has a dignity about him that says he is the king. How does anyone look
dignified with foliage on their head? Watch and you’ll find out. A powerful and
very moving performance (and you totally forget how ridiculous Lear is at the
start).
His three daughters were all well-cast. Lydia Bakelmun gives
a very emotional performance as Cordelia, but she’s not just some boring saint
– there’s spirit there. Seeta Indrani characterises Goneril so well, I almost
caught myself sympathising with her and, seriously, if you’re involved in these
plays, don’t ever annoy producer Sarah Peachey. She made her TSMGO acting debut
as Regan and I wanted to hide under the computer desk. Those cold, hard facial
expressions will be in my dreams all night and I want to dream about Edgar.
John D. Huston was a heartbreaking Gloucester – he makes so
many mistakes, but he seems like a good man and even if he’s not totally good,
he doesn’t deserve what happens to him. (Yes, he’s a much better
Gloucester than me.) Alex Andlau gives an extraordinary performance as his son
Edmund – how many performers have played Desdemona and Edmund in their lifetime,
never mind in the space of a couple of weeks? Alex’s Edmund is a real bad guy,
but he’s so compelling. It’s easy to see how he fools everyone. Michael
Ahomka-Lindsay is great as Edgar. His body movements when he’s disguised as
Poor Tom are inspired and the change in him after he leaves Gloucester’s home
made me think of something I’ve never thought before – although what Edmund
does is disgusting, it’s the making of Edgar. He goes from being quite a naïve
young man who doesn’t really know what’s going on into a much more confident
character.
Wendy Morgan shows her incredible skill with accents again
as the Earl of Kent and no matter what accent she uses, her characterisation is
flawless. Zoe Land seems born to play the Fool, having great fun with the role
but also bringing across the fact the Fool is no fool. I’ve always wondered
what made the Fool disappear from the plot (Shakespeare deciding the continued presence
of the Fool would be wrong in a tragic play is such a boring reason) and I
could easily believe this Fool realised things were getting really messy and he
would feel much happier if he was somewhere else.
The guest speaker for the week is Joseph Marcell, an
experienced Lear with considerable knowledge of the play. It’s definitely worth
watching his introduction even if you’re a bit wary of the play in general.
This really is one of TSMGO’s best.
Next week is Timon of Athens. Not one of my
favourites, but then Robert Myles announces that Ben Crystal (I studied his dad
for A Level) will be in it and Simon Russell Beale will be introducing it.
That’s me sold. Just try and stop me from watching it.
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