Kenneth Branagh has taken on a new project: directing and starring in the Shakespearean classic ‘King Lear’ this winter at the Wyndham Theatre in London. Having found out about this play earlier this year – and then proceeding to make my father sit patiently on the website on ticket release day to snap us a front row seat to the action, with a fervour only comparable to trying to book taylor swift tickets (been there, done that…) – my anticipation and excitement for this play has been slowly building over the past few months. It’s safe to say I was not disappointed, from the set design to the acting and direction choices, everything was perfectly pieced together to create a stunning piece of traditional Shakespearean theatre with a twist.
What immediately struck me about this play was Jon Bausor’s set design. Basour has never failed to impress: his set designs frequently adorn London theatres and opera houses, even the opening ceremony of the 2012 Paralympic Games in London, and now many are on exhibition in the V&A museum – he is undeniably a master in his field. For King Lear he employed a concave ceiling with a gaping hole in the middle as a space to project the turbulent weather scenes, a rotating floor with a rising ramp from the centre, and several giant moving stones that were also used as screens for projections at particular moments of the play (imagine Stonehenge built to fit a proscenium arch and you have it!). It was a dynamic and expansive set which allowed for added intensity in its suffocating enclosure-style scope, wrapping up the audience within it.
The storm scene allowed the set to really shine. The storm is a pivotal moment in a script full of pathetic fallacy, where we see Lear begin to truly decline having declared his intent to go mad as a punishment for his disobedient daughters in the preceding scene. That a separate role of projection designer was chosen for this production demonstrates the level of importance the projections were given by Branagh as director. Nina Dunn’s projections of thunder clouds and murky shades of blue and grey splattered across the screen were enthralling. This and the accompanying soundscape made the entire experience feel real and immersive. The tech was incredible and well executed throughout. During the battle scenes – which contained some incredible examples of well-choreographed physical theatre – they had pre-filmed close ups of warriors’ faces and snapshots of fighting displayed across the back.
A moment of simple directorial genius came when following a grotesque form of torture – the moment at which Gloucester’s (played by Joseph Kloska) eyes are gouged out and the bloody remains flicked onto the floor – the theatre was bathed in a blackout, emulating the new experience of Gloucester’s blindness. It was maintained for a few minutes before the light slowly flooded back. There was an opportunity here for this effect to persist for too long, or equally not long enough, but Paul Keogan (Lighting Designer) managed to tread that fine line well.
The actors’ performances were all impeccable and, thanks to their astounding diction and projection, every single word was caught by the audience – a difficult task when speaking Shakespearean english. Kenneth Branagh, of course, was impeccable in his portrayal of Lear, maintaining a good mix of regal authority alongside soft intimacy as his mental state decays over the course of the play. His relationship with Jessica Revell as Cordelia was heartwrenching. Upon her death we see a tipping point being reached as Lear takes his own life whilst cradling his deceased daughter’s body, his hamartia – being his arrogance – being realised in an epiphany in the final moments and thus he ends his suffering in this tragic manner.
The fighting scenes were expertly choreographed, though I do think the use of slow motion and freeze frames in these scenes is slightly overdone and very typical of this style of physical theatre: these elements were hardly astounding. However, the acting was still exciting and kept me on my toes and watching with apprehension. The lighting and tech, red harsh lighting and battle sound effects, kept it feeling real and raw.
However, with a straight two hour run time, there is no place for pause or contemplation – and I can safely say the time flew by. The production could gain a lot from a 20-30 minute increase in running time, just enough to allow the audience to sink into the action and dialogue (of which the production offers plenty). Though the merit to this fast paced style did mean my attention was kept throughout such a dense play and my eyes were never drawn away from the stage.
Branagh brought emotional depth, rawness, and advanced modern lighting, set, and sound to this age old classic. And though perhaps not yet his major career defining triumph, it was undoubtedly one of the most immersive and interesting Shakespeare productions I have seen in a while.
King Lear will continue its run at the Wyndham Theatre, London until 9th December.
