For all of its sound and fury and smoke, the CSC’s version of King Lear is solid rather than surprising or exciting.
The tragedy of King Lear never takes hold because you know that soon someone is going to pick up an accordion and with a ‘Hey, Nonny Nonny’ dance those blues away.
Director Bill Rauch’s concept and the Oregon Shakespeare Festival company have, in a small space, created an achievement of monumental, yet personal, proportion.
Two recent productions of Shakespeare, one a heralded London staging at the Donmar Warehous heading to New York in April, the other an Actors’ Shakespeare Project presentation in Davis Square, provide examples of the strengths and weaknesses of tackling the Bard without frills.
Actors From the London Stage (AFTLS) proves that when it comes to the Bard the minimal may be maximal. Reviewed by Caldwell Titcomb Shakespeare’s challenging “King Lear” is the vehicle for this year’s fall tour of the troupe called Actors From the London Stage (AFTLS). This project was begun in 1975, and has been flourishing […]