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Adagio Teas
   Features  >  NY Theater Reviews

 
KING LEAR
at the Brooklyn Academy of Music

TIMELESS GRANDEUR
By BERNARD CARRAGHER

  Derek Jacobi/ Ph: Johan Persson

Derek Jacobi, the esteemed British actor, who is still probably best known to American audiences for playing a stuttering emperor in the 1976 television series I, Claudius, is giving a magnificent performance in Shakespeare’s King Lear at the Brooklyn Academy of Music’s Harvey Theatre through June 5.
 
Jacobi, under the guidance of director Michael Grandage, gives us an accessible Lear for our time, a heroic man, fiercely proud, choleric at times and monstrously foolish. Mr.Jacobi plays Lear as an untamed king who often acts like a child and who at home rages at his daughters and on the heath at nature in a pelting rainstorm that unhinges his reason. He only finds his way back to his senses and humility in the play’s later scenes after suffering through an ordeal that is at once terrifying and exhilarating.
 
Grandage, who first directed this production last season at London’s Donmar Warehouse, presents Shakespeare’s play in its full length without a pause, moving from one sharply etched moment to the next. The three hours plus of playing time, with one intermission, fly by. Most importantly, this Lear is spoken with clarity and beauty, with an acute ear for Shakespeare’s truth. Christopher Oram’s setting is made up of tall white and gray spackled planks, brightly lit by Neil Austin, which are thrust right into the first row of the auditorium, giving this Lear a new intimacy and making the audience feel like the play is being performed in their laps.
 
To me, no play of Shakespeare’s is greater in theme or power than King Lear, and the success of this production lies not only with Jacobi’s performance, but also with Grandage’s clear-cut understanding of the story Shakespeare is trying to tell.
 
Jacobi also realizes that Lear is this larger-than-life character and that he is incapable of littleness, small feelings or puny emotions. He is towering in his pride and terrible in his anger. He is terrifying as he curses his daughter Goneril (Gina McKee) when he first begins to understand her cruelty. Yet on the heath he can be touching as he listens to The Fool, (Ron Cook), and heartbreaking when he meets his favorite daughter Cordelia (Pippa Bennett-Warner) again. Lear is a colossus of humanity and weakness all rolled into one personage.
 
Jacobi, at 72 years of age, is older than most Lears I have seen. The late Paul Scofield was 42 when he starred in Peter Brook’s now classic 1964 stage and film version of the play. White-haired, rosy-cheeked, physically Jacobi is not a big man, but he has stature and suggests in his bearing the grandeur that can cling to an old man who has known greatness. With the play staged so close to the audience, Jacobi always is in eye contact with theatergoers and is able to pinpoint most of the king’s feelings in his eyes, which are the windows of Lear’s soul. This closeness also allows him to whisper some of the play’s soliloquies or makes them ring out loudly like a king’s trumpet when he lets loose his rage.
 
Jacobi is well served by his fellow players, all of whom give salient performances. As his daughters Goneril and Regan, McKee and Justine Mitchell have the force and power to make their characters as coldly vicious as they are. As the favored Cordelia, Bennett-Warner is lovely and touching in the play’s final scenes when Lear emerges from his madness and reaches for her love and then to mourn her death.
 
The men all seem to be fired with the spirit of the play and act and speak with Shakespeare’s own passion. As the loyal but contentious Earl of Kent, Michael Hadley is tough and strong. As the gullible old Earl of Gloucester, Paul Jesson is commendable. Alec Newman plays the illegitimate son, Edmond, like a cool fading rock star. As a typical jeering Shakespearean villain, Tom Bear makes a good man of the Earl of Albany. And Gideon Turner makes a wicked one of the Duke of Cornwall.
 
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