NT On Tour: War Horse (26/01/19)

As a theatre lover, I have been looking for an opportunity to see the stage adaptation of Michael Morpurgo's War Horse, and this weekend I finally got the chance to see it. The play follows the journey of Joey, a horse in the First World War and the struggles his owner, Albert, goes through to be reunited with his beloved friend. Within just 10 years, the award winning production has been around the world and broken West End records, and I am thrilled to say that it lives up to its credentials.

Photo taken from National Theatre website:
https://www.nationaltheatre.org.uk/shows/war-horse-on-tour#production-story

Beginning the performance, the audience is introduced to a foal, effortlessly carried around the stage by puppeteers. The foal gambolled about the stage, mimicking the actions of a real creature from its ears right down to its tail. Despite the puppeteers being entirely visible, the illusion was compellingly realistic as they manoeuvred the young Joey with skill and finesse. This illusion continued throughout the production with all puppets, and very soon I forgot almost entirely that there were any puppeteers on the stage at all - even when several bodies were needed to move the animals into more complex positions (such as in the image above).

The most surprising element for me was the distinctive lack of set. Scenery was kept extremely simple and minimalist, with only a door and a window to represent a house, for example. Somehow, this added to the production, as it allowed the actors and puppets to dominate the entire stage, making use of its depth and of every corner. Across the top of the performance space was a simple strip on which images were projected. It sounds simple, but it was an easy way of changing the scenery without an intrusive backdrop and without drawing attention away from the action, complementing the minimalist set while providing enough information to transport the audience from one scene to another.

Albert (Scott Miller) with Joey as a foal. Photo taken from War Horse On Stage:
 http://www.warhorseonstage.com/about/gallery/

The inventiveness of the production goes beyond the puppetry and set. Sound effects, lighting and a smoke machine created an eerie battlefield as the beloved Joey went to war, placing the audience on the front line with him. Not only is the emotion of the animal visible in his actions, but it is felt through the subtle (and sometimes not so subtle) changes in atmosphere through music, song and sounds.

Now for the emotional part. Throughout the performance, the bond between the audience and Joey has been growing stronger, as more and more you hope that Joey will survive the war and be reunited with his precious Albert. By the time you reach the emotional climax of the play, you will be so enchanted by their bond and so moved by the story that these final events will capture even the hardest of hearts. If you do not already know the story, be prepared to cry. If you do know the story, be prepared to cry.

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