Talegate Theatre Company: Sleeping Beauty (30/12/18)

Christmas is a time for panto fun, and my good friend was starring in Talegate Theatre Company's latest production of Sleeping Beauty. What better excuse to go?!

The cast of the purple team for Sleeping Beauty

Performances were carried out across the country by colour coordinated teams - my friend was in the purple team and I saw them perform at Thorsby Riding Hall in Nottingham.

Despite only having four cast members, the fairytale plot progressed easily with all the well-known panto jokes (and a few new ones!) and enough costume changes to satisfy any dame's sparkly needs!

The dame oozed charisma and comedy, throwing in the occasional adult joke to keep the parents amused, while Princess Aurora and Prince Charming fell madly in love via harmonious musical numbers. The evil Malevola cackled her way through the show, possessing the stage and captivating the audience as she revealed her evil plans - giving plenty of opportunities for booing and hissing! In Act 2, the four somehow managed to coordinate a performance of "the 12 Days of Christmas", with each of them rushing to hold up their next item and sabotaging each other's parts, making for a few minutes of chaotic comedy leaving the audience in stitches!

The performers interacted with the audience throughout, engaging children with current songs, including one from The Greatest Showman and Baby Shark (if you didn't know the actions before, you will now!) It was pure entertainment for children and adults alike.

The shows are continuing for a couple of weeks so there's still time to catch it! Take a look at Talegate's website for upcoming shows near you: www.talegatetheatre.co.uk

My Sonnet

This semester at uni, I have been looking closely at types of Sonnet (in particular, the Petrarchan and the Shakespearean).  The form has varied as different writers have adapted it to suit their own style, but it is typically written in iambic pentameter with either an ABAB or ABBA rhyme scheme, ending with a rhyhming couplet and consisting of 14 lines.  I've wanted to try writing creatively for a while, so I decided to use my course texts as inspiration for my own sonnet.  Bonus points if you get all the references!

How did Nabokov tell, convincingly,

A story so provocative, so well?

Into Hamlet’s madness, actors can dwell,

And Shakespeare will be perceived mad, too.  By

A Donne-ish uncertainty that hunts like

Adonis, I am Holmes detecting clues

While Watson whispers irrational cues

On which my imagination will strike

At any point.  Shelley will, on the shelves,

Haunt me until I have lost Paradise

As I read ‘til I, too, have yellow eyes.

We are all completely beside ourselves

When we read.  Preserve, like the Scott-ish pound,

These tales of Fauste and Prometheus Bound.

RSC Live: Troilus and Cressida (14/11/18)

In an interview before the play, Anjoa Andoh (playing Ulysses), described Troilus and Cressida as a "hodge-podge", explaining that it is filled to the brim with strong emotions and contrasting ideas of what it means to be at war. This production did feel like a "hodge-podge", although probably not in the way that she intended.

One of the first things to note about this play is that it is the first RSC production to have a 50:50 cast - meaning there were as many women in the cast as men. Gender swaps can be problematic in Shakespeare so I was naturally concerned when I heard this, but for this production it seemed to work. The most notable swaps were the casting of a female Agamemnon and Ulysses. Traditionally, these are men of power, but giving women that power made a subtle but interesting impact on the representation of women the play: they no longer felt like victims of war.

There was another "first" for this production, as a deaf actor, Charlotte Arrowsmith, was cast in a main role for the first time on the RSC stage. She played Cassandra wonderfully, embodying the character fully despite only having a couple of appearances in the play. Her genuine deafness added authenticity to the part and actors on stage with her seemed to animate themselves more clearly for her.

A nice touch was the use of rough percussion music, composed by Evelyn Glennie (who is also deaf, by the way). Various drums and instruments were used to create unique sounds which were loud and booming. This really brought out the dystopian element of the production and sounded like war. The broadcast drew particular attention to this unusual musical choice via an interview with the musicians at the interval and camerawork throughout the play.

Language seemed more of a barrier in this production - although I am not very familiar with this play so perhaps this is not so much the fault of the production but a result of a text which was especially complex to begin with. It seems that audiences who knew the play well would have responded to it much differently, as they would appreciate the quality of the acting and the introduction of concepts much more. I was, of course, able to follow and understand most of what was going on, however there are many long, tedious speeches in this play which can make it difficult to stay focused.

Although individual elements were well executed, the play as a whole didn't seem to hang together particularly well. The contrasting themes of the play should be harmonious, yet for the first half I wasn't sure if I was meant to be watching a play of war or a romance. Gavin Fowler (Troilus) described his character as a lover, but first and foremost a soldier. Unfortunately, he came across as soppy and hopeless in love, only driven to fight by the betrayal of Cressida.

Overall, I understand what the director (Gregory Doran) was trying to achieve. I have no doubt that he was intending to modernise and make accessible a classic story, and to some extent he did manage to bring the play into the 21st Century. Unfortunately, it seems that not enough thought was put into helping the audience to understand the words as they were being spoken - something which is vital in any Shakespeare performance.

NT Live: King Lear (27/09/18)

The Daily Telegraph, The Independent and The Stage were among those who gave five stars to National Theatre's latest production of King Lear. Director Jonathan Munby was blessed with a fantastic cast, and he really brought out the best in them and in this remarkable play.

Ian McKellen as King Lear (photo from National Theatre's website: http://ntlive.nationaltheatre.org.uk/productions/ntlout29-king-lear)

Ian McKellen took the title role, commanding the stage wherever he walked. His descent into madness was illustrated beautifully in his mannerisms, voice and expressions, and there was a seeming authenticity in his relationships with other characters. He presented an inner strength which shone through even in Lear's weakest of moments, giving the King a true supremacy.

This play would have been fantastic even without McKellen - but he brought something special to the role. In the interviews before the show, McKellen and other cast members talked briefly about Lear's age. One word in particular came up a couple of times: dementia. It is a devastating illness that has the power to rip families and lives apart. Yet, it was not discovered until 1907 - that's 300 years after Shakepeare wrote King Lear.

James Corrigan is a name which I will remember for a long time after seeing his portrayal of Edmund. Before this performance, Edmund was not my favourite Shakespearean character. I have even found his subplot to be somewhat irritating, but Corrigan presented him to me in a new light. He brought humour and wit to the role, animating his performance with sly looks and subtle expressions. His confidence coupled with his charisma created a likeable character, despite his deception and wrong-doing.

Luke Thompson put on a striking performance as Edgar, beginning the play with a fumbling nervousness as Edmund plays his tricks. His transformation into "poor Tom" was physical and filled with emotion as he smeared clay and blood over his face and body. Thompson effortlessly varied his accent to adopt different personas for his interactions with the blinded Gloucester (Danny Webb), while embodying deep regret and sorrow to the audience for his father's situation.

A striking decision for this performance was to cast a female Kent. Sinead Cusack brought a maternal aspect to the role, perhaps simply due to her gender. I think, however, it was more than that: she showed true care for Lear and was willing to go to great lengths to protect him, even risking her own life to watch over him.

I want to say something about the fact that the production originated in Chichester Festival Theatre. The Minerva is a small theatre with only 300 seats, so this is an unexpected place to find a name as big as Ian McKellen take on a role as prominent as King Lear. In choosing the role, McKellen said that he wanted to create intimacy, and that he wanted the audience to be close enough to see his button when he begs "pray you, undo this button". Creating such intimacy exposes the actors in a new light, giving meaning to every movement, every breath, every blink. Viewing the performance via a live broadcast has a similar effect, particularly with the camera following characters' reactions.

It is not often that I find myself so moved by a play which I know I will be reviewing. I went into the cinema with my analytical head on, yet, by the interval I was already mesmerised by individuals and the production as a whole. I allowed myself to be totally immersed in the story, feeling the characters' emotions until the final scene of the play reduced me to tears. If I get the chance to watch this production again, I will definitely take it. Five stars well deserved.

NT Live: Julie (06/09/18)

Last week, I took my boyfriend to see the live broadcast of Julie: the National Theatre's adaptation of Strindberg's 1888 classic, Miss Julie. Starring Vanessa Kirby in the title role, I arrived at the cinema with high expectations for Polly Stenham's shiny new production.

Photo from National Theatre's website: https://www.nationaltheatre.org.uk/shows/julie

In advance of this new adaptation, I read the original to see what key themes I needed to look out for. I'm so glad I did. Not because it was difficult to follow or understand or anything, but because the original play has something that the new play lacks.

The original is set in a Count's household in Sweden, and deals with issues of religion, status and sexuality. It explores what it means to be free and the constraints of society. I've seen a few productions of classics (such as Julius Caesar and Macbeth) and so am familiar with the difficulties that directors can face when attempting to bring traditional themes into a modern setting.

The play opened with flashing lights and pulsing music, as dancers stumbled around in an intoxicated performance: it was clearly a 21st century party. A screen came down to hide the party and we were downstairs in the kitchen; Christina (Thalissa Tiexeira) and Jean (Eric Kofi Abrefa) kicked off the dialogue with the opening scene.

The set was aesthetically pleasing - everything was symmetrical and white, and all dishwashers and rubbish bins were hidden within the kitchen counters. This gave the kitchen a modern yet clinical feel, representative of the society which we learn Julie feels trapped in.

As I expected, Vanessa Kirby was fantastic as Julie, bringing sexuality, childishness and insanity to the role all at once. She wore a long skirt which she was constantly fiddling with and pulled up past her knees whenever she sat down, and the straps of her bralette were rarely on her shoulders.

As Julie's character spiralled into insanity and self-loathing, certain elements were adapted. A staple moment for me was when she kills her bird: traditionally, Jean uses a knife to decapitate it on a chopping board, as if it were a piece of meat for cooking. In this new version, Julie takes the bird to the blender and quickly turns in on, leaving a bloody mess. Having Julie kill the bird herself in such a violent way changes the meaning of this moment. The scene is no longer linked to the execution of Saint John the Baptist, but becomes a moment of taking control in a messy, impulsive way.

As we walked home, we discussed the moral of the play and what message we were taking away from it. I'd like to say we discussed misogyny or racism or sexuality. Unfortunately, we talked about the dangers of drugs and excessive drinking and how people, especially those of a high profile, get themselves into that state. While this is not a bad moral for a play to have, it is not what the directors said they were going for in the pre-show interview.

RSC Live: Romeo & Juliet (18/07/18)

(This has been posted a few days late due to going on holiday the morning after the performance)


I love going to see the live broadcasts. Before the show, you get a bit of insight into what the director's aims were along with exclusive interviews with the cast. In her pre-show interview, Director Erica Whyman discussed how relevant she feels the themes in Romeo & Juliet are today, especially regarding young people and knife crime. She spoke of the importance of love conquering hate, and I agree that this is an important message to send to young people.

Traditionally, Romeo & Juliet is set in Verona, although Whyman chose an alternative set. The exact location was kept vague, and a large metal box was moved forward and back and rotated around to be either solid or hollow, depending on the scene's requirements. Right from the offset, actors were climbing on top of the box as if it were a platform or sit on the edge like you would a wall. It was particularly effective in the traditional "balcony" scene, with Romeo comically leaning against the box while Juliet looked beyond him, unaware that he was there. The set felt very modern and some might say stylised, but the simple set kept the focus on the actors and meant they were able to utilise the entire stage.

Bally Gill and Karen Fishwick played the infatuated Romeo and Juliet, bringing a youthful energy to the roles. Gill was convincingly love-struck and tender, yet somehow managed to maintain his laddish charm and confidence. while Fishwick was so animated she was almost cartoon-like (in a good, Disney Princess kind of way).

A particularly interesting element of Whyman's production was the female Mercutio. Charlotte Josephine was fantastic in her role, although I do not feel changing the gender of the character added anything to the play. Mercutio is a loud character who teases Romeo and gets the boys riled up whenever there is a chance to have a party or a fight. Having a female in this role actually ended up quite annoying, despite Josephine's excellent acting. However, she might as well have dressed as a boy and acted the part as male, as her femininity did not come across.

Josh Finan has given me a new found love for Benvolio. He was clearly in love with Romeo (an interesting interpretation, I must admit, but it worked), and I truly believed that they were best friends. His energy on stage was positive and vibrant and he had great chemistry with other characters.

Michael Hodgson was terrifying as Juliet's father as he overpowered a fearful Lady Capulet (Mariam Haque). I know the scene in which he threatens to kick Juliet out well - I remember studying it at school, and it is a prominent moment in other productions I have seen - yet Hodgson still managed to send a shiver down my spine when he told Juliet to "die in the streets".

Ishia Bennison was hilarious as Juliet's nurse; she was tender and loving toward Juliet and their relationship was heart-warming to watch. By contrast, I felt Raphael Sowole was a fairly forgettable Tybalt. Although there was nothing wrong with his performance, he felt two-dimensional in comparison with other characters, and I found myself waiting for his death. Beth Cordingly played a female Escalus, and gave a strong performance as an authoritative figure, carrying the part well. Unfortunately, like Sowole's Tybalt and Josephine's Mercutio, I did not feel that she brought anything extra to the traditionally male character.

Overall, I was hugely impressed by the production and feel that Whyman was successful in making the play modern and relevant. It was refreshing to see that such a popular play could be reimagined and - to an extent - recreated.

BBC: King Lear (2018) part 10

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-9.html

Act V, Scenes 1-3

Plot Summary

Act 5 begins in the British camp in Dover. The jealous Regan asks Edmund about his love affair with Goneril, and he denies all. Regan is jealous anyway, and asks Edmund to keep his distance from Goneril. Goneril and Albany enter with their army, and bring news that the French army has been joined by King Lear, and Albany declares that he will fight alongside Edmund, Regan and Goneril. Neither Regan nor Goneril will leave Edmund alone, and the three exit together.

Edgar, disguised as a common peasant, joins Albany at the camp and gives him the letter that he took from Oswald - the one which reveals Goneril's secret affair with Edmund and her plot to have Albany killed. Edgar promises that if Albany wins the battle, he will defend Albany against the claims made in the letter and promises to be his champion. Edmund returns as Edgar leaves, and Albany quickly leaves the scene to prepare for battle. Edmund has a soliloquy in which he confesses his love for both Goneril and Regan and ponders over which sister he should choose. He resolves to make the decision after the battle, and decides that Goneril can kill Albany herself if he survives. He menacingly threatens to show Lear and Cordelia no mercy if the British should win.

Scene 2: the battle. Still posing as a peasant, Edgar guides Gloucester to shelter and takes Lear's side of the fight. When he returns, he says that Lear and Cordelia have lost and been captured. Gloucester wants to stay and await death or capture, but Edgar persuades him to safety.

In the final scene, Edmund leads Cordelia and Lear in and Lear is showing signs of insanity, fantasising about living with Cordelia as birds in a cage. Edmund sends them away with secret instructions on what to do with them. Albany enters with Goneril and Regan, full of praise for Edmund's fight and requests to see Lear and Cordelia. Edmund lies to Albany, saying that he feared mutiny if the British forces saw them, so he had them sent away. Albany is telling Edmund that it wasn't his place to make such a decision, when Regan interrupts with her plans to marry Edmund. Goneril argues, but Regan, who is suspiciously feeling sick, claims him as her lord and husband.

Albany arrests Edmund for treason, sounding a trumpet to summon Edgar (as previously agreed), whom Edmund must fight against for his freedom. Edgar wins the combat, and Edmund is kept alive for questioning. Goneril goes to Edmund to nurse his wounds, but makes herself scarce when Albany reveals the letter containing their secrets.

Edgar finally reveals his identity and tells everyone how he has disguised himself and led Gloucester to Dover. He also reveals that he only unveiled his identity to his father before coming to fight Edmund, and that upon hearing the news, Gloucester died of grief and joy.

A servant rushes in, clutching a bloody knife, and exclaims that Goneril has committed suicide after poisoning her sister, Regan. The two bodies are brought in. Kent arrives, enquires where Lear is, and Albany demands that Edmund reveals Lear and Cordelia's location. He confesses his crimes, and says that he sent Cordelia to be hanged, so a messenger is sent to prevent the hanging.

Lear arrives at the scene, carrying a dead Cordelia. He slips in and out of sanity, grieving for his daughter, and does not recognise Kent when he speaks to him. A messenger brings news that Edmund has died. Lear thinks that he sees Cordelia breathe again, and then he dies.

The play ends with Albany restoring Edgar and Kent's titles, as he invites them to rule Britain with him. Kent feels that his death is imminent and refuses, but Edgar accepts. The final remaining characters exit the stage together as a funeral march plays.

BBC Production

Back at the British camp, scenes of smoke over houses and military warfare covers the streets of England. Edgar (still disguised) guides Gloucester to a house and settles him on a sofa, before returning outside to discover the truth. He returns from the battle site to his father, and tells him that Lear and Cordelia have been captured. Gloucester dies in his arms. The noise of bombs and guns stops abruptly. For me, this emotional scene was cut too short, as the impact on Gloucester has been lost. Broadbent (as always) was terrific in the role, triggering sympathy from the viewer as he shows unconditional love toward the King. It needed just a moment longer, perhaps just before his death or after, to reinforce the amount that he has sacrificed and the heartbreaking truth that, in spite of everything, Lear has lost the battle, but Gloucester can finally rest in peace.

The British army march Cordelia and King Lear to the castle, and Lear speaks sweetly to him daughter and embraces her when she protests against her capture. His speech moves her to compliance, and she returns to the guards who march her into the castle. Upstairs, Edmund whispers secret instructions to a soldier, then joins Albany and Regan, who is looking pale, in the war room. Goneril arrives, and tensions rise again as she quarrels with her sister. Albany accuses Edmund of treason, clearly hurt by what he has recently witnessed between him and his wife. Regan yells that her sickness is becoming worse and leans on the table for support. Goneril lays her hand on Edmund’s back as Albany’s back is turned, suggesting their affair is far from over.

Outside, Edmund must face a champion to determine whether he is a traitor. This was Albany's challenge to him as per the agreement with Edgar, although this did not come across in this production - the conversation between Albany and Edgar had been cut entirely, so Edmund's challenge would seem random to anyone who was not familiar with the play. The British army surround the two fighters (Edgar was masked for the entire fight), creating a ring for them to fight within, cheering them on. Goneril smirks and Albany frowns as Edmund appears to be winning, and she grins widely when Edmund spits out his mouth guard to bite Edgar turning the fight dirty. She shrieks and the masked champion breaks Edmund’s back against his leg, and finally reveals his identity as Edgar, removing his mask. I expected a moment of emotion or honesty between the two brothers, but there was nothing.

A soldier runs in with a knife, telling of Regan's murder and Goneril's suicide, and Albany demands that he produces the bodies. Regan’s sickness suddenly makes sense, although Goneril’s suicide seems sudden and almost too quick. Their bodies are brought in on a trailer, and faces revealed from beneath a thick blanket. A quick reminder that Edmund has not yet died: Edmund’s final breath is that of Cordelia’s fate – although if you weren’t listening you would have missed it. His body is dragged to a nearby tent out of sight, and Lear comes in dragging a bag. Guards open it to reveal Cordelia’s face... Edmund told the truth too late.

Lear is calm and frank as he confirms that she is dead. Hopkins’ clarity in his final speech brings sincerity and reality to this final scene, as he addresses his men for the final time. His conversation with Kent reveals his confusion as his words are a tangled web of misunderstanding. Emotion returns as he spots Cordelia again with a noose still around her neck. He touches her head and cries for her. 

Lear, beginning to choke from crying and then struggling to breathe: “Pray you undo this button”. Edgar undoes it, and Lear takes a deep breath. His attention returns to Cordelia, and he appears to hallucinate that she is alive. He steps toward her and falls, tears in his eyes and gasping for breath. One final breath and he dies, resting upon Edgar and Kent. All present remove their hats in respect. They lift him to lie next to his daughters. Kent goes to remove all bodies but suddenly finds himself weak, and soldiers take them away instead.

Edgar ends the play with an address to the surrounding soldiers and looks at the camera upon the line “nor live so long”. The production ends with a view of Kent walking out of the castle gates, following as the corpses are taken out, and the light fades to white to symbolise death. 

BBC: King Lear (2018) part 9

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-8.html

Act IV, Scenes 5-7

Plot Summary

The scene returns to Gloucester's castle, with Oswald informing Regan that Albany's army is on the move. Regan is curious about the letter from Goneril to Edmund, but Oswald refuses to let her see it, and Regan supposes that it is about their love affair. Regan tells Oswald that she fancies Edmund for herself, and says that she has already spoken to Edmund about it. She also says that it would be inappropriate for Edmund and Goneril to commit adultery, and that it is much more suitable for him to begin an affair with a widow. She gives Oswald something to send to Edmund, and promises Edmund a reward if he can kill Gloucester.

[This took place earlier in the BBC Production] Still disguised as Poor Tom, Edgar leads Gloucester to Dover and pretends that they are at the top of a cliff. He claims that the height gives him vertigo, and stands back as he watches Gloucester pray. It is clear that Gloucester wishes to commit suicide. Gloucester faints and collapses to the ground, no longer able to stand his suffering. Edgar, now no longer pretending to be Poor Tom (yet still not revealing his identity), wakes his father and claims it is a miracle that he survived the great fall, saying the gods have saved him. Edgar tells him a devil was tempting him to suicide, and Gloucester, satisfied with this explanation, resolves to be patient with his suffering.

Lear, who has been wandering in his state of insanity, comes across Gloucester and Edgar. He clearly recognises Gloucester, but his words lack coherence and he babbles about Gloucester's adultery and womankind. Cordelia's men arrive in search of Lear, but Lear escapes when they attempt to bring him to Cordelia.

Oswald arrives at the scene, recognising Gloucester and remembering his plan to kill him for a reward from Regan. Edgar, realising that Oswald has not recognised, decides to adopt another persona. He kills Oswald while defending Gloucester, and Oswald passes the letters onto Edgar as he dies. Gloucester regrets not being killed. Edgar reads in the letter that Goneril asks Edmund to kill her husband, Albany, so that they can be together. Infuriated, Edgar keeps the letter with the intention of showing it to Albany. He then buries Oswald and guides Gloucester to safety.

BBC Production

We then return to a town centre, where Edgar is sat on a bench with his father - again, we must assume that they walked, and Edgar must have led Gloucester down a cliff without him realising that he was walking down the cliff he supposedly fell from. Lear comes wandering into the scene, looking like a drunk homeless person with a shopping trolley full of junk and rambling on about all kinds of rubbish. Honestly, if it weren't for having the script handy then I don't think I'd understand this scene. False identities, madness and depression make for a confusing encounter.

Lear's mad speech when he is confronted with Gloucester is a crucial moment in the play, as Lear fails to keep iambic pentameter and cries "Fie, fie, fie! Pah! Pah!". His madness is visible not only in character, but in his scruffy attire. Lear gets genuine with Gloucester for the first time in the encounter and sits next to him on the bench where he and Edgar are sat. He removes his hat and pulls out a horseshoe, showing more signs of madness as he rambles about his horseshoe. The British army comes running in, headed directly for the King. They tell him they will take him to safety, and he starts laughing, saying they will seize him by catching him as he starts to run away, playfully.

The scene removes itself to Goneril and Oswald, in conversation about recent events, laughing. The letter between Edmund and Goneril has been totally omitted, but the affairs between Edmund and the two sisters are evident. Goneril approaches Edmund, and she passes a gold chain to him with promises of power and wealth and kisses him intimately. She is spied and confronted by her husband, Albany.

Edmund’s soliloquy narrates the scene as he goes to Regan, and has an equally passionate meeting with her, exchanging whispers and touches. Goneril and ­­Albany arrive, causing them to separate, and they converse about political happenings. The tension between Regan and Goneril could be cut with a knife as glances are exchanged and subtle yet snide remarks are made. At the end of the conversation, Edmund claps loudly, and follows them out of the room. 

Read part 10 here: http://lilliteraturereviews.blogspot.com/2018/05/bbc-king-lear-2018-part-10.html

BBC: King Lear (2018) part 8

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-7.html

Act IV, Scenes 1-4

Plot Summary

Act 4 opens with Edgar reflecting to himself that situation could be much worse, when he is confronted with the sight of his blinded and beaten father being led by an old man. Gloucester is telling the old man that losing his sight is worth it if he can touch his son, Edgar, once more. Yet, Edgar chooses not to reveal his identity and remains in the disguise of Poor Tom. Gloucester asks "Tom" to lead him to Dover. Edgar (as "Tom") agrees. Gloucester says that he wants to go to the top of the highest cliff.

Goneril and Edmund begin scene 2, arriving at her husband, Albany's place. Oswald reveals that Albany is no longer ally to Goneril, and that he is pleased that the French have landed. Aggravated by Albany's cowardice, Goneril decides to take control over her husband's army.  She sends Edmund to Cornwall's house to prepare his troops for the battle against the French, and bids him goodbye with a kiss and the promise of messages. Albany arrives as Edmund leaves, and criticises Goneril for driving her father into madness. Goneril retaliates, calling him a coward, and the argument escalates.

News arrives of Gloucester's blinding and Cornwall's death, and Albany reacts with horror while Goneril expresses mixed feelings. Goneril feels Cornwall's death with give Regan less power, yet it also gives Regan opportunity to pursue Edmund. Albany asks of Edmund's whereabouts when his father was being abused, and is horrified to learn that Edmund was the one who betrayed him. Albany decides he must help Gloucester - and declares revenge on Edmund.

Meanwhile, in Dover... Kent, in disguise, speaks with a French gentleman and learns that the French have landed, but quickly departed due to trouble at home. Cordelia, now the Queen of France, has learned of her father's mistreatment and feels sorry for him. Kent reveals that Lear has also arrived in Dover, but refuses to face Cordelia because of how he mistreated her. The gentleman tells Kent that Albany and Cornwall's armies are both on the move, ready to fight the French.

Cordelia arrives with her soldiers and Lear hides in the cornfields, singing madly to himself. She sends her men in search of him, and consults a doctor about his mental health, who prescribes sleep. News of the British armies is brought to Cordelia, who orders her men to stand ready for battle.

BBC Production

A few scenes have been either omitted or rearranged from now on, so I'll keep this section in the order of the BBC production.

In a smooth transition, Edgar's words are heard before he is seen, as he narrates the beginning of his monologue over a montage of Gloucester being guided by servants and Edgar making his way across a field along the side of the road - the road, of course, reminds us that this is a modern adaptation, and therefore a modern landscape is required. He meets his father on his path, and puts on an awkward squeaky voice in attempt to disguise himself from his father, and the man leading Gloucester is convinced that Edgar is mad. Gloucester sends the old man away, and asks Edgar to lead him to Dover; Edgar responds that he will, in that same awkward squeaky voice. His face is becoming wet with tears as he looks upon his father with confusion and sorrow.

The scene quickly changes upon the mention of the Dover cliffs, and Edgar has apparently guided his father all the way to Dover. Perhaps they walked, perhaps they caught a bus, we'll never know. Edgar (still disguising his identity from his father) pretends to take Gloucester to the edge of the cliff, backs away when requested, and watches with tears streaming down his face as Gloucester falls to the ground. Edgar wipes his face and runs toward his father, adopting a common London accent this time. Poor Gloucester seems genuinely disappointed that he has survived the fall from the cliff, as this stranger tells him.

A quick flit to the French army shows that they are preparing for battle, and reminds the viewer that there are political issues to follow as well.

Read part 9 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-9.html

BBC: King Lear (2018) part 7

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-6.html

Act III, Scenes 5-7

Back at Gloucester's castle, Edmund has betrayed his father by showing Cornwall a letter that proves Gloucester's support of the French invasion, and Cornwall vows revenge. Edmund feigns shock, but his secret plan has come into play as Cornwall rewards Edmund with the title Earl of Gloucester. Cornwall sends Edmund in search of Gloucester, and Edmund hopes to find his father helping Lear to prove Cornwall's suspicions.

Gloucester, Lear, Kent, Edgar and the Fool settle in a small outbuilding, probably on Gloucester's grounds. Gloucester goes to find provisions, while the others perform a mock trial of the King's daughters. The scene is an exhibition of madness, eccentricity and hallucinations. Gloucester rushes back, reporting to Kent that he has overheard talk of a plot to kill Lear, and begs for Lear to be sent to Dover to his allies. Edgar ends the scene with a monologue in which he compares his own suffering to Lear's, concluding that the King's suffering feels far worse and far more important.

In Gloucester's castle, Cornwall shows Goneril the letter which incriminates Gloucester and requests that she tells her husband, Albany. He then sends servants to apprehend Gloucester for punishment, and orders Edmund and Goneril to Albany's place so that they do not have to witness the punishment. Oswald reveals that Gloucester has helped Lear flee to Dover, and Gloucester is found and brought to Cornwall who treats him cruelly and as if he were a criminal. Cornwall says that although he cannot kill Gloucester without a formal trial, he can still punish him brutally.

Gloucester remains loyal to the King, and says he will see his wrongs avenged. Cornwall gouges one of Gloucester's eyes out and remarks, "see't shalt thou never", while Regan orders Cornwall to rip the other eye out too. A servant of Gloucester's steps forward to defend him, but Cornwall and Regan kill the servant after a sword fight. Wounded and enraged, Cornwall gouges out Gloucester's other eye.

BBC Production

Cornwall swoops into action upon reader the damning letter, scrunching it up in fury and dramatically clearing his desk. Suspense is created by the scene flitting between Gloucester's castle and Lear's outside party, hinting to the reader that a climactic event is about to happen. Gloucester shows kindness to the King and his followers, protecting them by allowing them access to a hiding place. Within, Lear's speech becomes slurred and full of spite as he takes the opportunity to condemn his daughters, and his madness shines through until he is advised to rest by Kent. They settle down to rest, but Edgar is shown sat upright, looking around and contemplating what he has just witnessed.

A truck arrives, and Gloucester rushes in to instruct Kent to ensure Lear arrives in Dover. The Fool follows, seeming full of life until he lies down on the bench in the back of the vehicle. His eyes and mouth are wide as he gasps for breath, apparently dying, possibly from the stress of recent events and exposure to the fierce storm.

Andrew Scott has a chance to shine through Edgar's monologue, and it is a moment of redemption. His character becomes grounded and real as he acknowledges the viewer through the camera, seeming sincere in his words. He finishes his speech with a look into a mirror and splashes a handful of water across his face - this action appears to undo all of his words, and I have to question the director's unusual decision to bring a glimmer of madness back to the character in this final moment. Perhaps all will become clear as the production develops.

A return to the castle brings us back to business, as Corwall, Edmund, Cordelia and Regan strutt about the halls with information firing about. "Pluck out his eyes!" orders Goneril, after Regan has suggested Gloucester is hanged for his treason. Another quick exchange informs us that the French have landed, meaning the British army must be prepared. Upon leaving the castle, the first hint at an affair is shown, as Edmund discreetly gropes Regan's bottom as they follow her husband and Goneril to the castle doors.

Gloucester, "the traitor", enters the dining room to find Regan and Cornwall, who order him to be bound to a chair immediately. Cornwall begins to question, but Regan speaks over him and has the final word when she demands Gloucester to speak. Neither believe his honest answers, and Regan's rage gets the better of her. She exchanges a glance with Cornwall, and they know what they are about to do: Gloucester's glasses are removed, and he screams in pain as Cornwall uses Regan's finger as an instrument to gouge out Gloucester's eye. Splatters of blood fly across their faces and over Gloucester's glassed which had been placed on the table (not quite sure how it reached past Cornwall and Regan, but it certainly created a dramatic sight).

Suddenly, a random guard whose face was vaguely familiar stepped forward in Gloucester's defence, shouting in Cornwall's face. Cornwall retaliates, pushing the guard over the dining table and attacking him with cake, leaving the butter knife free for the guard to grab and stab Cornwall with. Regan saves her husband, shooting the guard who falls to the ground, reminding Gloucester that he has one eye left to harm Cornwall and protect the King with. This reminder refocuses Cornwall, and he marches over to the helpless Gloucester to finish the grim job. Regan beats him to it, forcing her finger into Gloucester's eye, and the scene finishes with the sound of his wimpering.

After a gory view of Gloucester, still tied to the chair and with blood dripping down from his eyes, attention is centred onto Regan, looking at her wounded husband in horror. He tells her he is hurting, and reaches for her arm, but the selfish Regan turns away and leaves the room. Cornwall follows with a determined look in his eye, and the camera returns to the defeated Gloucester for the close of the scene.

Read part 8 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-8.html

BBC: King Lear (2018) part 6

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-5.html

Act III, Scenes 1-4

Plot Summary

Act 3 scenes 1-2 appear to be omitted from BBC's production. In Shakespeare's play, Kent is shown searching for Lear, and learns of his whereabouts from a knight. He tells this knight secret information: of unrest between Albany and Cornwall, and that there are French spies within the English courts. Kent tells the knight to go to Dover in search of allies, and gives the knight a ring to give to Cordelia so that she knows who has sent the message. Kent then searches for Lear, who is still wandering in the storm with his Fool and cursing his daughters. Kent finds them, and urges them to take shelter in a nearby hovel.

Scene 3 returns to Gloucester in his castle with Edmund. Gloucester shows worry for the King and recounts how Lear had been locked out in the storm to Edmund. He then reveals news of a conflict between Albany and Cornwall to Edmund, and tells that a French army is invading. Gloucester takes the King's side and decides to search for him in the storm, while Edmund distracts the Duke of Cornwall so that Gloucester's absence goes unnoticed. However, when Gloucester leaves, Edmund betrays his father and immediately tells Cornwall, hoping to inherit Gloucester's fortune after he has been executed for treachery.

We are transported back to Lear for scene 4, where he is refusing to enter the hovel in shelter of the storm. He stays outside and prays, reflecting that he did too little as King to protect the homeless who had no shelter from storms such as this. The Fool runs out of the hovel in horror, claiming that it is haunted - but it is Edgar disguised as beggar Tom O'Bedlam. "Tom" claims he is being chased by the devil, and Lear sympathises with him. They share stories, and Lear removes his own clothes to match Edgar's nakedness. Gloucester finds the King, and attempts to persuade him to return to the castle. Lear is persuaded, but decides to bring his new friend, "Tom", with him.

BBC Production

Given that much of scenes 1 and 2 are missing, England's political situation is not at the forefront in this production. Jim Broadbent shows a serious face as Gloucester reveals to Edmund that France are invading, however there is no more information than this up to now. Gloucester hands a letter to Edmund and embraces his son before leaving in search of Lear. There is also no sign that Edmund plans to betray his father, and no suggestion that he is thinking of sentencing his father to death by telling Cornwall of his treachery.

The "hovel" is a group of tents, seemingly where homeless families take refuge from the storm. This clarifies Lear's monologue about the poor homeless citizens that he has let down in his rule. It is a huge contrast from the grand castles we have previously seen, and symbolises the King's mental downfall while suggesting that this is where Kent has had to stay since being exiled. It serves as a reminder that, although this play follows the effect of Lear's actions on his family and friends, a King's attitude and actions (or lack thereof) will also impact the lives of everyone under his rule.

This moment of reflection is interrupted all too quickly by the sound of snarls and the Fool's outcry of a spirit inside the "hovel". Edgar (Andrew Scott), half naked and covered in dirt and mud, is shooed out by Kent with a long stick. Scott is good at playing a madman, so I looked forward to seeing how he would embody this character. His eyes are wide, his arms are flailing, and his voice is high-pitched and hysterical: "Poor Tom!". As always, his performance is very physical, grabbing at himself, the ground, and other characters. He huddles and flinches like a puppy when Gloucester arrives with a torch, and Lear puts his arm around him in protection as he leads him back to the castle with him.

Read part 7 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-7.html

BBC: King Lear (2018) part 5

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-4.html

Act II, Scenes 3-4

Plot Summary

Scene 3 sees Edgar, who has so far managed to escape, removing his fine clothes and dirtying himself to become "poor Tom". He decides to pretend to be an escapee of a mental asylum, searching for food and shelter.

Lear arrives at Gloucester's castle for scene 4, and spots Kent. He is shocked to learn that Regan and Cornwall have treated one of his servants so appallingly, but excuses their behaviour when they claim that they are sick from travelling. Lear reveals Goneril's recent unkindness to Regan, and Regan suggests to him that he returns to Goneril to beg forgiveness for his actions. Lear asks Regan to let him stay, but he refuses, and he curses Goneril.

Goneril arrives at Gloucester's castle. Regan, who was expecting her arrival, takes Goneril aside and they plot against their father. They tell him he is old and weak, and must surrender half his men if he wants to stay with either of his daughters. He chooses to stay with Regan, but she says only 25 of his 100 men can stay. Lear then bargains with Goneril that he will keep only 50 men if he can stay with her, but she refuses his offer. Then, both daughters refuse him any servants.

Lear is outraged, and marches outside where a storm is brewing. Gloucester wants to let him in, but both Regan and Goneril order the doors to be locked, leaving him in the harsh weather.

BBC Production

Edgar appears to have avoided the guards and dogs, and rests against a tree in the dark wood. He is weak and trembling as he removes his jumper and smears mud on his face.

Back at the castle, Lear arrives in a Landrover and spots Kent tied up outside. He reveals what has happened, and Lear demands to know "Where is my daughter?!" as his rage appears to be starting up again. He marches through the castle, and slyly takes a drink from a flask - it appears a drinking problem is how he handles his issues. Kent is brought in by servants in the background.

Regan puts on her sweetest smile as she attempts to talk the King into returning to Goneril. He curses Goneril, and Regan tries again. This time, he responds by mocking her, getting on his knees and begging Regan as if she were Goneril, laughing at himself as he fakes an apology. Regan's face changes, and a harsher look casts over her face: "Return you to my sister". This sends Lear into a rant about Goneril's mistreatment of him, and Cornwall attempts to calm him. He reminds Regan of the ownership of land which was previously agreed.

They are interrupted by the sounding of a car horn outside, and suddenly Lear remembers Kent outside, asking "who put my man in the stocks?". As perfect timing would have it, Oswald walks in and Lear immediately points his anger and blame toward him. Oswald backs away, and Goneril walks in, looking very regal and commanding. Lear remembers his rage at Goneril and removes himself to another room. Cornwall reveals that he put Lear's man in the stocks.

The issue of where Lear is to stay becomes the topic of the conversation again. Regan provides the reason that she is currently not at home, and so Lear cannot stay with her. He is insulted by the thought of having to give up half his men to stay with Goneril, and rejects her offer. He tells her farewell, "we'll no more meet, no more see one another" and then grabs her face as he kisses her directly on the lips. It is an uncomfortable moment, as the kiss is not tender as it should be between father and daughter, nor is it brief enough. Poor Emma Thompson can only push him off then stand in disbelief after this awkward moment. Lear's rage shows itself again, as his family and friends look upon him in horror.

Gloucester, desperate to protect his King and the peace, looks on as the two daughters reject their father. The two women decide he has no need for any men, for they have plenty of their own, and the King is insulted by this. He removes his coat ready for his rant about wanting his men for reason, not for need, and forcibly wraps it around Goneril upon the lines "If only to go warm were gorgeous,/Why, nature needs not what thou gorgeous wear'st,/Which scarcely keeps thee warm". She flinches in response at his rage and forcefulness, and I am beginning to question whether this production is hinting at him being more abusive off-screen, perhaps in Goneril's childhood.

Lightening strikes outside to the sound of thunder, and Lear continues his rant. He yells that he will have revenge on his daughters, almost growling as he says his lines. "I shall go mad" he says, as he finally exits the room, and the camera follows him leaving the castle. His Fool follows, and Lear continues his rant of hatred as the Fool huddles against him as they walk in the awful weather. Kent catches up to them, and buttons up Lear's coat and an alliance appears to be sealed between the three of them as they walk on together across a stormy field.

Read part 6 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-6.html

BBC: King Lear (2018) part 4

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-3.html

Act II, Scenes 1-2

Plot Summary

Gloucester's servant, Curan, tells Edmund that Regan and her husband, the Duke of Cornwall, will arrive shortly, and mentions gossip that there is trouble between Cornwall and the Duke of Albany. Edmund is pleased, and plans to make use of Cornwall in his plan to get rid of Edgar, telling Edgar that Cornwall is angry towards him because he is sided with Albany. Edmund also tells Edgar that Cornwall has discovered his hiding place, so they stage a sword fight and Edgar runs away. Edmund cuts his own arm and lies to Gloucester (their father), claiming that Edgar had wanted him to join a plot against Gloucester, which Edmund says he refused to do. Edmund claims that Edgar tried to kill him, so Gloucester gives him praise for refusing.

Cornwall and Regan arrive and believe Edmund's lies, and ask if Edgar is one of Lear's disorderly knights. Edmund says that he is, and Regan speculates that the other knights put Edgar up to this in order to acquire Gloucester's fortune. Regan asks Gloucester for advice, and responds to Lear and Goneril's letters.

In scene 2, Kent, disguised as Caius, meets Oswald who does not recognise him. Kent abuses Oswald, who maintains that he does not know him, and Kent attacks Oswald with his sword. Cornwall, Regan and Gloucester hear Oswald's cries for help, and Cornwall orders "Caius" to be punished in the stocks. Gloucester feels punishment of Lear's messenger would be disrespectful toward the King, but is outvoted by Regan and Cornwall.

When alone, Kent reads a letter from Cordelia, which reveals she is looking for an opportunity to leave France and return to Britain, where she will help improve Britain's conditions. At the end of the scene, Kent falls asleep in the stocks.

BBC Production

Following a heartfelt conversation between Lear and the Fool, the music suddenly changes, giving a sense of drama and action. The viewer is presented with army trucks moving down a road, then transported to the scene of Gloucester's castle at night.

Scene 1 opens with a hushed and hurried conversation between Edmund and Edgar. Edmund sneaks Edgar out of the castle under the cover of night with sirens sounding in the background. A brief but intense embrace between the brothers suggests that this is the last they will see of each other for a while. Edmund directly addresses the camera, letting the viewer in on the secret when he cuts his own arm with a knife, ready to claim that Edgar cut him.

Gloucester and guards answer Edmund's cries and are commanded immediately to go in search of Edgar, leaving Gloucester and Edmund to share a moment for Edmund to lie to his father about Edgar plotting to kill him. For me, there should have been more emphasis on this moment - I feel it was only because I was looking out for it that I understood what was happening. Thus far, only half of the scene has been included, and it is only because of Edmund directly looking into the camera briefly that I understood that it was deceit. His scenes with Edgar and his father seem genuine (although I gather he is supposed to be a good liar).

Regan and Corwall arrive and are quickly caught up on the situation, and Regan jumps to conclusions about Edgar and of Lear's knights as per her warning from Goneril. They then move off camera as they reveal to Gloucester the real reason why they came: for his advice. Edgar is briefly shown rushing through some woods with searchlights and dogs barking in the background, to show that he is being pursued.

I was interested to see how a modern-day production would adapt scene 2 to make it relevant while maintaining the excitement. Oswald arrives in a car; Kent on a bike. Kent gets off his bike and stops Oswald, dragging him out of his car while insulting him and demanding he recognises him. Kent chases Oswald around the car, grabbing and assaulting him when he can. Oswald, with fear in his eyes, manages to manoeuvre himself within reach of the steering wheel to honk the horn and cry "Help! Murder!". A siren is sounded and guards come rushes to his aid. Kent does not back down until Cornwall orders them to cease. After being insulted himself, Cornwall orders for Kent to be restrained and left outside overnight, and guards get him to his knees with hands behind his back and a black hood over his head. Gloucester's protests are silenced by the sound of guns being held to Kent's head. The scene ends with Oswald camply throwing something at Kent before throwing Kent's motorcycle helmet off his car and driving away, leaving Kent restrained and alone.

I found this was an odd way of adapting it, but cannot think what more the director could have done. If it weren't for Oswald's whimpish behaviour and slightly camp/posh character contrasting with Kents masculinity, the humour would be almost entirely lost. Because of the hood, we cannot see Kent falling asleep at the end, and there is no mention at all of Cordelia's letter (although this may turn up later).

Read part 5 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-5.html

BBC: King Lear (2018) part 3

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-2.html

Act I, Scenes 4-5

Plot Summary

Kent, who has been banished by King Lear, dons a disguise as Caius in order to remain within the kingdom to protect his King. Lear asks "Caius" of his intentions in his kingdom, and Kent ensures his answers are vague but full of admiration for the King - this impresses Lear.

King Lear requests to see Goneril, but Oswald leaves without responding. A knight reports that she is unwell, and also tells the King that Goneril's household are being rude toward the King's entourage.

Goneril enters and complains of the Fool's and the knights' unruly behaviour. She demand that the number of knights in the King's service are reduced - Lear responds in anger that he will move to Regan's palace where he will be appreciated.

Scene 5 begins with Lear sending Kent to deliver a message to Gloucester. The Fool foresees that Regan will equally mistreat King Lear, just as Goneril has. Lear begs the Heavens to keep him sane.

BBC Production

This scene is introduced with images of Jim Carter trimming his hair and shaving off his beard, signalling that a transformation of character is taking place. The viewer is then transported to the woods where Lear is found with his men, hip-flask in hand, chanting and celebrating the results of a hunt. Kent, disguised as Caius, watches from behind a tree. "Caius" steps forward to greet the King, who does not appear suspicious that he already knows the man before him. They stand face-to-face as Lear asks what his business is, and Lear is quick to accept his company.

Personally, I find an issue with disguises such as the Kent-Caius one in this play being translated into film. In the real world, Lear would have recognised a person with whom he has worked closely. For Lear to look Kent directly in the face and not realise who he is seems implausible, yet this seems to happen in many modern-day productions that attempt to place Shakespeare in a modern naturalistic setting. Perhaps Hopkins could have taken a step back and looked as if he recognised Carter upon the line "Dost thou know me, fellow?", and Lear been convinced by Caius' speech. Or, perhaps he should have been distracted and therefore not looking directly at Carter - this would allow for Lear to show arrogance after being flattered by Caius, and make the decision to trust Caius' words based on his ego.

The men return to Goneril's palace full of celebrations, and when the King requests to know where Goneril is, he is quickly dismissed by Oswald (Christopher Eccleston), leaving a dumb-struck Anthony Hopkins and Jim Carter in the room. Oswold consults with Goneril and she asks him to report that he is sick. Scraps from Act I, Scene 3 fill in the blank that has previously been left, giving a brief explanation for Oswald's actions and showing that he is under Goneril's command. Oswald returns to the room and is bullied by the King and his men, slapped, pushed and laughed at.

Following this fight, Oswald is quickly forgotten as the Fool (Karl Johnson) visits the house to see the King. The King's violence remains apparent when he grabs the Fool by the collar as a greeting, and his drunkenness is being to show as he slurs words and listens intently to the Fool's riddles.

The Fool relates his story to the King, while Goneril listens from the next room before entering the scene. She appears as a sensible teacher-ish figure, standing above him as she lectures him over his behaviour. She is surrounded by the King's knights, and so the tipsy King puts on an arrogant performance in front of his men. Goneril is not swayed, even when Lear burps at her. Things become serious as anger overcomes Lear and he decides he must leave a place which is so ungrateful of his presence. There is a brief moment of awkwardness as Albany (Anthony Calf) enters the room expressing his confusion over why the King must leave, and Lear responds with a kiss directly on Albany's mouth. A moment of "what the hell just happened?!" follows next, as Lear, Albany and Goneril all show expressions of disbelief.

Lear's rage continues toward Goneril, who holds her head down and shuts her eyes in seeming fear. She then rants to her husband about the horror her father is bringing upon their family. She asks Oswald to go to Regan and inform her of the King's behaviour and warn her of his arrival.

A quick transition moves the scene back to a conversation between the King and the Fool, as they are sat outside with the knights busying themselves in the background. Serene music plays as the Fool consoles the King over his actions, and as the King requests of the Heavens that he may not be mad.

Read part 4 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-4.html

BBC: King Lear (2018) part 2

Read the previous post here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-052018.html

Act I, Scenes 2-3

Plot Summary

Edmund's soliloquy reveals that he feels inferior due to his status as a bastard, and plans to forge a letter to his father (Gloucester) in order to undermine his brother, Edgar. He then presents this letter to Gloucester. Edmund suggests to Edgar that he carries a weapon to protect him from their father's wrath.

In scene 3, Oswald confirms to Goneril that King Lear stuck him for making fun of the King's Fool. This enrages Goneril, and tells Oswald to keep Lear waiting when he needs something. She says if the King is unhappy, he should move to Regan's palace. Goneril instructs her servants to be cold toward the King due to his behaviour.

BBC Production

Broadbent's Gloucester is filled with emotion and heartbreak when he reads the forged letter. He is easily convinced by Edmund (John Macmillan) and does not think for a second to doubt his words. Then, the sly Edmund continues on his quest of deception. Macmillan looks directly into the camera to allow the viewer in on his secret, allowing us to become an accessory to his crime.

Edmund's half-brother, Edgar (Andrew Scott) is introduced as a character of intelligence. He is positioned at a desk in a study, seemingly working hard at astronomy of some sort with an image of an eclipse on his computer screen and board. This is perhaps a nod to Gloucester's line in the previous scene: "These late eclipses in the sun and moon portend no good to us", which originally referred to lunar and solar eclipses in 1605 London, about a year before the play's first performance on record. During that time, an eclipse would have triggered many superstitions, and Gloucester believes that these eclipses may have caused Edgar's letter.

Edmund uses Edgar's work as excuse to bring up the recent eclipses, and allows the conversation to flow into discussion of the effect on their father's temperament. Edgar doesn't seem to notice that his father has been different and looks back at his work in dismissal, yet Edmund pushes the subject: "Bethink yourself wherein you may have offended him". A bang on the table by Edmund startles his brother and brings a sense of urgency to the scene. When Edmund, dressed in military gear, tells his studious brother to arm himself against their father, Edgar reacts in shock and fear.

A fragment of Scene 3 appears later on in the BBC production.

Read part 3 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-3.html

BBC: King Lear (2018) part 1

I've missed the live broadcast of King Lear, so I'll be catching up on iPlayer. I'm attempting something a bit different this time: I'll be watching it in sections and analysing each act in more detail over several blog posts. Hope you enjoy!
The production was available here: https://www.bbc.co.uk/iplayer/episode/b0b57d0w/king-lear 

Act I, Scene 1

Plot Summary:
Two noblemen, Gloucester and Kent, open the play with a conversation about how the King is dividing his kingdom. Edmund, Gloucester's son, is introduced when Kent remarks to Gloucester "Is this not your son, my lord?", and it is revealed that Edmund was born out of wedlock.

Lear enters with a plan to divide his kingdom between his three daughters. He asks each of them in turn how much they love him, promising to give the largest share to the daughter that loves him the most. Goneril and Regan confess the most love, yet he gives them equal share. Cordelia, however, refuses to perform such flattery, and only speaks of her love when she is pressed by Lear to do so. She tells her father that she only loves him as much as she should: no more, no less. Lear is outraged by this, disowns his third daughter, and divides his kingdom equally between his two eldest daughters.

Kent, having witnessed the outburst, tells Lear that he appears mad to reward flattery and disown honesty in such a way. Still in a fury, Lear banishes Kent from the kingdom, ordering him to leave within six days.

The Kings of France and Burgundy arrive to hear which of them is to marry Cordelia. Lear tells them that she no longer owns any title or land, so Burgundy withdraws his offer. However, France is impressed by her honesty and decides to make her his queen.

Although they recognise that they now have power over the kingdom, Goneril and Regan plot together to reduce their father's power further.

BBC Production:
Richard Eyre's modern-day production begins with dramatic views of London, intense music and the view of soldiers.

Inside the castle, the grey stone walls reflect the icy nature of the events that take place within them. Gloucester's (Jim Broadbent) dismissal of his son, Edmund, feels cold, and it is clear that he loves his status more than he wants a family. When Kent (Jim Carter) and Gloucester continue toward the throne room, Edmund throws a pained yet angry look after his father.

Lear's (Anthony Hopkins) power is clear from the moment he appears on screen. The camera follows his steps through the stone corridor and into the throne room, giving him an instant impression of authority. His costume is a simple black shirt with black trousers, yet he constantly commands the attention of the viewer. The delivery of his lines is flawless, and he intimidates without the need to yell or gesture. I would even go as far to say that his sense of superiority has a kind of elite grace to it.

The throne room is set up very much like a business board room, with white chairs surrounding a glass table. More bare stone walls with the only decoration being a bust of Lear's head and shoulders which eerily lingers in the background. Goneril (Emma Thompson) pours her heart out to her father, seeming desperate to control as much of the kingdom as possible. She shows a mixture of relief and happiness when she is rewarded with a third, much to Regan's discontent. Regan (Emily Watson) nods to her husband as she is determined to show more love for her father, and cannot hide her annoyance when she is awarded the same amount as her sister.

Cordelia (Florence Pugh) is difficult to read as she decides against flattering her father. She appears not to be afraid to speak her mind, yet fails to protest when she is disowned, despite fighting back tears. She clearly does not intend to insult her father, yet remains dignified even in the face of his outburst. When Kent stands up to Lear, Cordelia stands in the background, silent and watching the encounter. She speaks with a bitter tone when she makes it known to France and Burgundy that it is honesty which has deprived her of the King's grace, and Hopkins' careful delivery of Lear's chilling response to Cordelia is ice-cold: "Better thou hadst not been born than not to have pleased me better".

Goneril and Regan close scene 1 with discussions about their aging father. Having them walk out of the castle as they agree that he has too much authority not only provides a smooth transition to Edmund for his monologue, but creates a sense of movement in the plot against King Lear.

Read part 2 here: http://lilliteraturereviews.blogspot.com/2018/06/bbc-king-lear-2018-part-2.html

NT Live: Macbeth (10/05/18)

About a month after seeing the RSC's fabulous production, I tuned into National Theatre's broadcast of Macbeth to see how they would adapt Shakespeare's Scottish tragedy.

As with the RSC, Rufus Norris (NT Director) cast the stage in smoke and eerie lighting, using echoing sound effects to create a spooky atmosphere. Rae Smith's set was nightmarish - the pre-show feature told the audience that it was to represent a modern civil war; we are to imagine the world if the national grid went down and banks stopped giving out money.

Although I got the idea of war and survival, I'm not sure why the King of Scotland would have been cause for concern in this setting. Their "armour" is literally taped onto them and all their clothes ripped, yet for some unknown reason hierarchy is still an issue in this setting. Of course, there is no explicit reason for this civil war to be taking place, but there does not seem to be much of a kingdom for Duncan or Macbeth to want to rule over.

Rory Kinnear was a tormented Macbeth, and his descent into madness was emotional and captivating. His chemistry with Anne-Marie Duff (Lady Macbeth) was intense. The first time the audience saw them together, they shared an intimate and passionate kiss. Their relationship is then put to the test as power and madness overcomes Macbeth.

Lady Macbeth must be one of the most difficult characters to portray to an audience of Shakespeare fans. Her character is powerful, emotional and tragic all at once and the first impression is vital. Duff's Lady Macbeth is one full of anguish and desperation, and her character complimented Kinnear's Macbeth well. She appeared genuinely thrilled and excited by the prospect of her husband becoming King. As the play progressed, subtleties in her characterisation, such as trembling hands and a too-loud laugh, demonstrated her downward spiral into insanity.

The three witches were fairly typical - played by women, each dressed in creepy and quirky attire. One seemed to lead the other two, commanding the stage where she walked. One was monotonous with echoes when she talked, another had a high-pitched shrieking voice. They broke spacial barriers as they moved around the entire stage - which, for the non-supernatural scenes, was usually sectioned off using set.

I was, however, disappointed with Banquo's ghost. I have previously seen him portrayed with gory effects, and the RSC covered him in an ash-like substance, yet this Banquo seemed to be missing something. I was anticipating his appearance and how his interaction with Macbeth would unfold, yet he just stumbled around the stage and Kinnear was left doing all the work.

Trevor Fox had an extended role of the Porter. His monologue after the murder of Duncan is quirky and comedic as it is, but his Geordie accent brought an unusual dimension to his role which suited the moment perfectly. He seemed to be a friend or neighbour or helper of the Macbeths, assisting them throughout the production and absorbing other minor parts.

Generally, the performance had me captivated from start to finish, although I have to question how much of this was more to do with the fact that it was Macbeth. 

BBC Scotland: Measure for Measure (29/04/18)

Shakespeare was given a Scottish twang in BBC Radio 3's production of Measure for Measure. Usually set in Vienna, the play was transported to a vague Scottish location as most characters spoke with Scottish accents.

The Clown, Pompey had the broadest accent of all. The comic is usually funny, but his accent made his argument with the sleepy Barnadine all the more hilarious. (Imagine him saying "Awake till you are executed and sleep afterwards" with a North-East accent!)

Despite the accents, the clarity and emotion with which all the actors spoke was incredible. It can be a true challenge to understand Shakespeare when just listening to it, but occasional sound effects, such as the familiar sounds of a prison buzzer and gates, aided comprehension.

As ever with this play, important questions of power, sexuality and religious morals were raised, however not all of the issues are as relevant today as they were at the time of writing. Claudio being sentenced to death for fornication, for example, seems outrageous in a world where having children out of wedlock is commonplace.

However, the issue of Angelo abusing his power to coerce Isabella into having sex still rings alarm bells for people today. The Duke's final assumption that everyone will be content with his decisions, including who can be married to whom, gives the suggestion that the Duke has the potential to abuse his power just as Angelo has done. Isabella does not consent to his hand in marriage, and the final sound of her crying suggests that misery is not over for her - or were they tears of joy at discovering her brother is still alive?

As BBC point out in their description, this is perhaps Shakespeare's strangest comedy, that carries heavy themes through ironic tones - not one for the faint-hearted.

Jon Richardson - Old Man (27/04/18)

(Okay, so this one isn't exactly literature, but it was so good I just HAD to write about it. No spoilers, I promise)

The lights go down. Cheering begins. A spotlight. Jon Richardson appears in a beautifully hideous cardigan. And so, the entertainment begins.

He manages to make the ordinary and mundane into hilarious sketches, bringing humour into the everyday. He paints mental pictures of his hilariously exaggerated anxieties, which more often than not seemed to result in death from something as banal as shutting a car door correctly.

He cleverly linked early jokes to later ones, creating a punchline that made me howl with laughter. I noticed two girls laughing their heads off from behind me and wondered if someone in front could hear me (most likely).

Thanks to Mr Richardson, I now have some new found anxieties about things that I didn't even realise were a thing (especially when it comes to public toilets!)

I would watch it (and laugh) all over again.

RSC Live: Macbeth (11/04/18)

Director Polly Findlay brought new and exciting elements to such a well-known Shakespeare play, bringing it storming into the 21st century. 

The most striking choice was probably the casting of 3 young girls to play the witches, using microphones to bring an eerie horror effect. Using influence from the cinematic thrillers, the 3 witches wore pyjamas, held baby dolls, and spoke in unison, creating a creepy-children-in-a-horror-film atmosphere wherever they went.

Christopher Eccleston was powerful and flawless as the magnificent Macbeth, while Niamh Cusack brought a maternal insight to her ambition as Lady Macbeth. Their chemistry was not as fiery as I had hoped, but their bond was strong and full of intimacy. 

For me, Cusack's speeches stole the show. I know Lady Macbeth's words well, having been entranced by her character at school. Even so, her monologues gave me chills as they took on new meanings to me. As an older actress, she brought a new perspective to the role, focusing on her need to please her husband in new ways, giving that she was unable to provide him with children. Her ambition was no longer selfish, but a desperate need to fulfil her duty as a wife.

Banquo (played by Raphael Sowole) had an easy friendship with Macbeth, and his much anticipated appearance as a ghost did not disappoint. The banquet scene exhibited Macbeth's breakdown and Lady Macbeth's struggle perfectly, while guests looked on in horror and disbelief at Macbeth's apparent insanity.

The Porter received an extended role as Michael Hodgson witnessed the entire performance, keeping a tally of deaths until finally losing count towards the end. He served as a comic and an observer, bringing his role into a new dimension.

Edward Bennett received the limelight during the second half as Macduff when he learned of the fate of his family. His sorrow was felt by all, his performance captivating. In his fight against Macbeth, I felt his revenge and became sympathetic to his cause - which was unexpected, as he is not usually a favourite of mine.

The set, although relatively simple, was effective and easy for set changes, keeping the performance smooth and efficient. The clever use of the clock counting down kept us on our toes as we realised time was not on Macbeth's side, and Macbeth's final scene was gripping as the perfect choreography resulted in death at the last second of the countdown. 

Overall, I have great respect for anyone who chooses to take on The Scottish Play, but this production truly exceeded all of my expectations. Bravo RSC, you've done it again.

NT Live: Julius Caesar (22/03/18)

This is the first National Theatre performance I have seen since Frankenstein, way back in 2012 (which was brilliant, by the way), so I had high hopes for this one. The director, Nicholas Hytner, made some interesting decisions, some of which haven't been too well received.

The most unusual decision for a Shakespeare production was the movable stage. I am used to seeing the set move about and a stage being transformed, but this one actually forced the audience to move as well. Before the dialogue began, a live band entertained the audience with loud rock music, and the stage was set up very much like a rock gig. The stage lost and gained parts as the production continued, changing shape and size, until by the end it was literally a warzone. Comfortable in my cinema seat, this made for effective scene changes, but I couldn't help feeling sorry for the poor groundlings (in Shakespeare's day, this was the standing audience) at the venue.

Next, some quirky character decisions were made. Julius Caesar (David Calder) was dressed in Trump-like attire, sporting a baseball cap with a tie and surrounded by tacky merchandise. This immediately set him up as a villainous dictator, and as a character that is not necessarily in power for the right reasons. He loved the attention, waving at the audience and soaking up the limelight. A walking stick and wheelchair on occasion gave the subtle hint that he was ill, although this felt pointless given his fate halfway through the play.

Hytner chose to cast Michelle Fairley as Cassius, making this usually predominantly male play have a female lead to balance the scales. Fairley gave a strong performance, although the world still felt patriarchal, so Cassius' motivation for wanting Caesar dead perhaps didn't translate as well as it could have. Cassius' long standing friendship with Brutus (Ben Whishaw) was clearly established in their first scene. They appeared as old friends who had been close at one stage, although a difference of opinion or values seemed to have come between them. Due to this history, Cassius was able to sway Brutus to her way of thinking relatively easily, restoring their old friendship.

David Morrissey's Mark Anthony was strong and loud. Although Brutus's speech over the dead Caesar was powerful, Mark Anthony's was even more so, throwing into question whether the conspirators have done the right thing by the nation.

The play, as always, ended with multiple deaths and suicides, leaving a sour taste. As a tragedy, it should have a tragic ending, although the final scenes seemed to drag and I was ultimately just waiting for everyone to die off.

I respect Hytner's efforts - Julius Caesar is a tremendous play to take on and it is an even bigger feat to update the characters into the 21st Century. That said, some things are perhaps better left as they are and a more traditional approach taken. A for effort, though.

RSC Live: Twelfth Night (14/02/18)

This Valentine's day, I dragged my boyfriend to see Shakespeare's tangled rom-com, Twelfth Night. 

I laughed out loud as Adrian Edmondson brought Malvolio to life in the infamous yellow stockings, while the inter-connected romances tugged at my heart strings.

Set in the Victorian period, Christopher Luscombe's production had a traditional, romantic feel to it. An artistic backdrop created a bohemian setting for Orsino's house, allowing Nicholas Bishop to become a hookah-pipe-smoking hopeless romantic, dreaming of marrying Olivia (although apparently not doing much else).

The Company of Twelfth Night. Photo taken from the RSC Website:
https://www.rsc.org.uk/twelfth-night/past-productions/christopher-luscombe-2017-production/production-photos

Kara Tointon embodied the mourning Olivia with a Victorian grace and poise. Her extravagant black dress flattered her stature as she positioned herself carefully around the stage. She dramatically covered her face with a lace black veil to give Viola-dressed-as-Cesario (Dinita Gohil) the rather large hint to leave.

Sir Andrew (Michael Cochrane) and Sir Toby (John Hodgkinson) provide a hilarious drunk and disorderly contrast to Edmondson's no-nonsense Malvolio. I couldn't help but feel sorry for poor Malvolio as he read what he believed to be a love letter from Olivia, but had to laugh as Sir Toby, Sir Andrew and Fabia (Sarah Twomey) blended into the broken nude statues in attempt to conceal themselves as they spied on him.

The set became transformed once again as Sebastian arrived by train, and his arrival complicated the existing love triangle between Orsino, Viola/Cesario and Olivia even further. The 21st Century discussion of gender identity and sexual orientation was hinted at as Orsino shares a kiss with Viola still thinking she is Cesario, while Olivia appears to fall in love with Viola.

Feste (Beruce Khan) was musical and colourful, bringing entertainment and joy everywhere he went. His energy was contagious, although his cheekiness drove poor Malvolio to the edge.

Luscombe created an all-round dazzling production, complete with a talented cast and wonderfully detailed set and wardrobe. Perfect for date night!