{"id":364882,"date":"2025-02-24T17:11:22","date_gmt":"2025-02-24T22:11:22","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=364882"},"modified":"2025-02-24T17:11:22","modified_gmt":"2025-02-24T22:11:22","slug":"a-king-lear-both-upbeat-and-dark-at-american-shakespeare-center","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/02\/24\/a-king-lear-both-upbeat-and-dark-at-american-shakespeare-center\/","title":{"rendered":"A ‘King Lear’ both upbeat and dark at American Shakespeare Center"},"content":{"rendered":"

It is one thing to go to the theater and have a good time, with solid acting, great songs, and have the satisfaction that comes from a good night out.<\/p>\n

But to find yourself in the presence of a master of the craft, whose grasp of Shakespeare\u2019s language is profound, whose very presence onstage is magisterial, is the rarest of gifts. This, dear friends, is what you will find onstage within the friendly confines of the Blackfriars Playhouse in Staunton, Virginia.<\/p>\n

\"\"
Blake Henri as Kent and Angela Iannone as King Lear in \u2018King Lear.\u2019 Photo by Alaina Shefelton.<\/figcaption><\/figure>\n

King Lear<\/em> is very much a tragedy for our times: the tale of a monarch who chooses flattery over true loyalty, with truly horrific results. Tough times call for a tough Lear, and we have one here: Angela Iannone has shown herself, time and again, to be an artist whose understanding of the Bard has a visceral truth to it, and often heart-breakingly so. Solid as Gibraltar, as a King Lear for the ages, she owns the stage, and the house itself is her noble realm.<\/p>\n

This, simply put, is how it\u2019s done.<\/p>\n

This, simply put, is what must be seen.<\/p>\n

Iannone has found a remarkable balance between Lear\u2019s egotism and insouciance; her Lear isn\u2019t some doddering old fool in early dementia (why on earth some prominent actors make that choice with their Lear plumb evades me) but a narcissist whose conversion isn\u2019t so much toward madness as it is toward clarity, a deeper understanding of life\u2019s fragility.<\/p>\n

What\u2019s truly refreshing, in the opening scene, is the way Iannone allows the audience to have a good laugh at Lear\u2019s expense. Given the pathetic competition between Goneril and Regan in the sappy \u201cWho Loves Daddy Mostest?\u201d contest, we all know what\u2019s about to transpire, and Lear of course is the last to know. We can laugh, knowing full well what Lear does not. But as the action proceeds, and the betrayals start to mount, we are also witness to some of the most harrowing denunciations ever uttered on any stage. When Lear condemns Goneril to sterility, the force of Iannone\u2019s delivery makes you seriously fear for that young woman\u2019s health.<\/p>\n

The rage and fury Lear displays, as both Goneril and Regan proceed to strip Lear of everything, is pre-ordained and well done. What takes skill, however, is to move from rage to realization, and it is here that the genius begins to show itself. For later, in the aftermath of Lear\u2019s complete dispossession, we find Iannone discoursing discreetly with a fly on the subject of sex \u2014 silly, but ever so poignant.<\/p>\n

This Lear gets it; too late, but this Lear gets it.<\/p>\n

\"\"
TOP: Rasell Holt as Edgar in \u2018King Lear; ABOVE: The Cast of \u2018King Lear.\u2019 Photos by Alaina Shefelton.<\/figcaption><\/figure>\n

What also makes the American Shakespeare Center\u2019s current production of King Lear<\/em> well worth the visit is the way that director Paul Mason Barnes has exploited the play\u2019s constant switching between tragedy and farce. Shakespeare wasn\u2019t into one long schlep to the grave; he knew we could take only so much of that doom and gloom, so he made a point of inserting a comic routine or three to ease the burden of what we know is yet to come.<\/p>\n

Complementing Iannone\u2019s remarkable gifts, we have Blake Henri as Kent, the ally who goes undercover to look after Lear\u2019s safety. His conversion from sober policy wonk to merry prankster is smoothly done, and once his English yeoman avatar is fully constructed (as it were), we can follow his antics with great delight.<\/p>\n

Another undercover agent, so to speak, is Edgar, played here with a towering passion by Rasell Holt. Falsely accused by his half-brother Edmund of plotting against his father, the Earl of Gloucester, Edgar is forced to become \u201cPoor Tom,\u201d and the scene of Edgar\u2019s disguising has overtones that should be seen to be fully appreciated.<\/p>\n

Gloucester himself, as played by Christopher Seiler, is \u2014 like Lear \u2014 hardly an innocent bystander; you wince as he openly introduces Edmund as his bastard son, whose mother gave him a good ride but little more. As for Edgar\u2019s scheming bastard brother Edmund, Joe Mucciolo is every inch the slimy villain, deadly attractive to the wrong kind of ladies \u2014 and Regan and Goneril clearly both have eyes for him, to their last breath.<\/p>\n

The script for this production dispenses with the husbands, which is something of a double-edged sword. On the one hand, we get to see Lear\u2019s evil daughters as they saw themselves \u2014 not as mere pawns in the old man\u2019s dynastic politics but as political actors in their own right. On the other hand, this also removes the one speech that Lear\u2019s third daughter, Cordelia, had, which would have shown her backbone and her pragmatism. As a result, the quietly charismatic Charlene Hong White has less to do here than I would have liked.<\/p>\n

But back to the evil ones: Leah Gabriel (Goneril) and Raven Lorraine (Regan) do a fine dance at the beginning, and their flattering public speeches for Lear were obviously well rehearsed. Hardly surprising, either, that they proceed to take turns seeing who can most humiliate the old man. Both, moreover, have eyes for Edmund as their boy-toy; and when it appears that Edmund\u2019s father might be plotting against them, Regan takes the prize for villainy when she gouges Gloucester\u2019s eyes out in revenge. (I\u2019ll take my toast with butter, thanks very much.)<\/p>\n

\"\"
Summer England as the Fool and Angela Iannone as King Lear in \u2018King Lear.\u2019 Photo by Alaina Shefelton.<\/figcaption><\/figure>\n

Rounding out the cast is Summer England, as Lear\u2019s Fool, the sharp-witted, punny, allusive, evasive wordsmith who knows exactly what is happening even when Lear can\u2019t buy a clue. As an all-permitted fool, she gets to critique Lear\u2019s every thought, and top it. Here, the Fool is Lear\u2019s anchor, and Summer does the fine dance of honesty, delivered just obliquely enough that it isn\u2019t seen as open criticism. A fine dance that, perhaps, a few of us might want to make a study of for the near future.<\/p>\n

The festivities are livened, as always, by a few hit songs; Summer England kicks things off with Rosemary Clooney\u2019s rousing classic \u201cThis Ole House,\u201d while Blake Henri and Charlene Hong White chime in with Tears for Fears\u2019 moving ballad \u201cMad House,\u201d followed later by The Head and The Heart\u2019s \u201cRivers and Roads,\u201d a somber reflection on emptiness and departures. Christopher Seiler does a fine job with the old Beatles\u2019 favorite \u201cFool on the Hill\u201d (I mean, what else is more fitting?), the songs here striking the same balance as the play, between upbeat and dark.<\/p>\n

This production of King Lear,<\/em> great acting aside, has lessons for us all as we muddle through very confusing, troubled times of our own, when professions of loyalty often hide the deepest deceits and quiet loyalty, unexpressed, is left unattended. May we survive these times long enough to watch this show as a mere historical curiosity, and not the warning it now has become.<\/p>\n

Running Time: Two hours and 30 minutes, including one intermission.<\/p>\n

King Lear<\/em><\/strong><\/a> plays through April 19, 2025, in repertory with Little Women<\/em><\/strong><\/a> (through April 19) and The<\/em> Comedy of Errors<\/em><\/strong><\/a> (March 20 to April 20), presented by American Shakespeare Center<\/a> at the Blackfriars Playhouse, 10 South Market Street, Staunton, VA. For tickets (starting at $36), call the box office at (540) 851-3400 or purchase them online. <\/a><\/strong>ASC also offers a Local Rush deal of 50% off tickets on Wednesdays and Thursdays. Learn more here.<\/a><\/p>\n

Cast and artistic team credits for King Lear<\/em> are online here<\/a>\u00a0(scroll down).<\/p>\n

Age requirement: 7 and up.<\/p>\n

King Lear <\/em><\/strong>by William Shakespeare
\nDirected by Paul Mason Barnes<\/p>\n

SEE ALSO:<\/strong>
\n‘Little Women\u2019 at American Shakespeare Center is a heartfelt story for us all <\/a><\/strong>(review by Andrew Walker White, February 14, 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

Tough times call for a tough Lear, and we have one here: Angela Iannone owns the stage. 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