ARTS . Theater Review

Raising the Bard

REVIEW: People's Light & Theatre Co.'s King Lear


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Published: Mar 9, 2010

If a checklist for good Shakespeare direction exists, Steve Umberger's King Lear at People's Light & Theatre Co. earns a near-perfect grade. That the three-plus-hour tragedy proves exhausting says less about the play or production than our ever-shortening attention spans.

First, clarity of words: From Graham Smith's dynamic Lear (a believably white-haired octogenarian, yet spry enough to out-shout sound designer Fred Story's booming storm) to the inevitable young actors playing multiple roles, this Lear sparkles. Umberger even entrusts Mark Lazar with all the Fool's typically cut arcane jokes, and Lazar's dour wit makes them relevant. Moreover, Lear's comedy — and Umberger finds more than I recalled — shines through, which means we're comprehending everything.

Next, clarity of characters: Lear requires quite a crowd, and People's Light's veteran ensemble makes each distinct and their relationships clear. The complex rivalry between Lear's ambitious daughters Goneril (Mary Elizabeth Scallen) and Regan (Susan McKey) is delightfully nasty, and Peter DeLaurier's crusty Kent — banished by Lear, but still serving in disguise — is a treat. Lesser characters are the real test, though: Ahren Potratz's unctuous Oswald, Luigi Sottile's loyal Burgandy and David Blatt's various soldiers are examples of a completeness in which no character is too small for depth and detail.

Third, flow: James F. Pyne's stone-and-steel set of ominous walls, lit by Dennis Parichy, smoothly accommodates many looks, ensuring that not a second is wasted changing scenes.

Fourth, passion: Christopher Patrick Mullen and Kevin Bergen excel as rival half-brothers Edgar and Edmund, and our hearts break with Kim Carson's Cordelia, whom Lear rejects for not professing enough daughterly love. Lear's misguided retirement — let's face it, there's only one way a king leaves office — sets huge stories in motion, and they build convincingly. Samantha Bellomo's fight choreography provides an important assist: There's nothing perfunctory about these clanging swords.

Absent is the sizzle that overwhelms the steak: Though Marla Jurglanis' costumes are handsomely modern, Umberger imposes no obtrusive directorial concept, no intrusive commentary. The connections exist for us to discover, without modern machinations preempting Shakespeare's words. This might be harder on the audience, but it feels right.

Through March 28, $29-$45, People's Light & Theatre Co., 39 Conestoga Road, Malvern, 610-644-3500, peopleslight.org.