King Lear, one of William Shakespeare’s greatest plays, is now running at TheaterWorks in New Milford, CT, with a superb cast of superior actors under the lean and keen direction of Jane Farnol. This marvelous adaptation production with twenty actors runs for two hours without intermission, leading to lamentation over Cordelia’s death, the kindest person who ever tiptoed on the stage.
In the March 1603 wake of Queen Elizabeth’s death, there was uneasy consternation with the ascent of James the Third. By March 1606 Shakespeare sought to exploit the dramatic possibility of government collapse. Mark Feltch, who has trodden the boards with much success, plays the inconsistent, narcissistic, demented King with august pathos. Key to the play is the angry, bitter scheming of bastard Edmund, who is the fulcrum of propagandistic lies and clever manipulation of subversive plots, here played with improvisatory, dedicated division by David Regelmann, who knows what an agreeable, menacing smile is.
Lear’s daughter Goneril, played by Vicki Sosbe, breathes hypocritical elegance with aplomb. Lear’s daughter Regan, Erin Shaughnessy, struts with cunning self-assurance. Cordelia, played by Abi Heydenburg, exudes kindness, shyness, and humility that secures her doom.
Colin McLoone as Duke of Albany offers polished assurance, common sense, and contented action. James Hipp as Duke of Cornwall presents suave security amid magnificent turmoil. Sean Gorman, as the Earl of Kent, walks with modest imperial strut, confident of being above everyone in judgment and affection, and he is just that. Thomas Ovitt, as Edgar, son of Gloucester, shines with humble reserve when most tested.
Tom Heydenburg as Duke of Burgundy (also a Producer of the play) and doubles as an imperial guard, is impressive in both roles. Sam Everett as Oswald (steward to Goneril) proffers stubborn loyalty. Vincent Chistoni as the King of France who suffers the incredulity of his martial loss to England with resigned embarrassment. The Earl of Gloucester, in a major role, heroically endures irrational punishment, then, having his eyes put out with stoic dignity due to his honesty and fidelity, underscores pathos in the play.
Last, but by no means the least, is the Fool, played by Todd Santa Maria with witty offhand humor, combined with gritty absurdity as his guide.
There is much action upon this small stage where two levels are employed. The costumes by Becca Lynn are period yet also express elements of character. Production Design by Leif Smith is strikingly ingenious. I am not a fan of stage swordplay, yet Fight Choreography by Adam Battelstein was stunningly thrilling.
TheaterWorks is known for excellent acting, and this production will not disappoint. The theme of a mad king carries an implied resonance regarding truth and lies in government.
Photographs are by Richard Pettibone/Ghostlight Photography.
There are five more performances of the play: May 15 & 16 at 8 pm, and a 2 pm matinee on May 17. Also, May 22 & 2 3 at 8 pm.
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