Mcdiarmid's Lear: A King Undone, A Man Revealed

King Lear, probably the greatest of all the Shakespearean tragedies, is a play about power, family relationships, suffering and betrayal, but tonight, above all else, it became a deeply human story. Ian McDiarmid takes the title role and completely makes it his own, skilfully depicting Lear’s journey from a proud and powerful king and father to a compassionate, vulnerable and frail old man.

The play follows Lear as, in preparation for old age, he attempts to divide his kingdom between his three daughters according to how convincingly, in his opinion, they declare the extent of their love for him. Goneril (Katie Wimpenny) and Regan (Justina Kehinde), Lear’s two older daughters, flatter him but Cordelia (Bebe Sanders), his youngest daughter, refuses to do so and thus the tragedy begins to unfold as Goneril and Regan slowly but surely strip their father of his power, dignity and ultimately his sanity.

Initially, McDiarmid presents Lear as proud and demanding, and King is convinced that he deserves complete obedience. However, as Lear loses his kingdom, his family and eventually his sanity, McDiarmid gradually exposes the fear and vulnerability lying just beneath the surface. Lear’s slow descent into madness is one of the most moving aspects of the entire performance, as the audience witnesses the gradual but total destruction of the man rather than simply the collapse of a king and his kingdom.

There is a very strong supporting cast – David Birrell plays Gloucester, while Mark Holgate takes the role of Kent. Fode Simbo plays Edmund and Max Revell the Fool. The complex relationships that exist and then develop between Lear and his daughters are particularly convincing. Goneril and Regan are presented as cruel and ambitious, while Cordelia is softer and sincere. The stark contrast between Lear’s three daughters makes his error of judgement especially tragic, as he rejects the daughter who genuinely loves him while rewarding those who flatter him to obtain land and wealth.

The parallel story involving Gloucester, Edgar and Edmund adds a further layer to the production. Like Lear, Gloucester experiences betrayal within his own family and is forced to confront the consequences of misplaced trust, reinforcing that whilst families can be a source of great love and joy, they can also be a source of great suffering. The two storylines complement each other and thus make the central themes of betrayal and family conflict even more powerful.

Titus Halder, the Director, makes full and effective use of the Crucible’s intimate staging. The audience is unusually close to the characters and the action, while McDiarmid’s powerful portrayal of Lear’s suffering is especially poignant. The staging also contributes significantly to the dark and unsettling atmosphere. The storm scenes are particularly dramatic, mirroring Lear’s mental and emotional collapse. The lighting by Ryan Day and the sound by Emma Laxton create a sense of chaos around Lear, reflecting the disorder taking place inside his mind. Yarit Dor, the fight, movement and intimacy director, has created convincing fight scenes, whilst the Fool's movements alongside his ability to bend and turn and balance are second to none!

The performance is just short of three hours in length (including the interval) and is demanding in terms of both language and subject matter; however, the audience is rewarded by an unsettling examination of issues as old as time, surrounding human relationships, greed, betrayals and suffering.

Overall, an excellent interpretation of a well-loved Shakespearean classic.

Sheffield Crucible Theatre until 19th September