Queen Lear - Fiercely Feminine Shakespeare
In their latest celebration of all-female Shakespeare, Her Productions takes on Lear. King turned Queen, Lear is an unedited rendition of one of the bard’s most iconic and challenging productions.
Sibling rivalries swell to banishment, warfare, and widespread murder plots. Strong figureheads unravel courtesy of their physical and mental impairments, all whilst they seek out true supporters amongst a swarm of double-crossers. The company have a lot to unpack in under 3 hours upon the stage.
The set is incredibly simple. Enshrouded on two sides by a plain curtain, with a central wooden table. This design begins as a fairly underwhelming backdrop for the impeccable performances and noteworthy costumes that define the promontory’s foreground. However, as the story gains momentum, the initially cumbersome central table is cleverly reimagined into a hovel, a boat, a warfront trench, and a deathbed. As the monarch descends the ranks, so too does the apparatus of their court.
The play opens with some fairly stiff scenes in the King’s court, but really comes into its own after the iconic storm sequence. The stage is strewn with litter, the bulky table reimagined into multiple new formations, and the public personas of each character cracked and shattered piece by piece.
Christine Macki’s Lear begins as a fiercely fabulous leader. Shortly thereafter, she becomes wide-eyed, fearful, and heart-wrenching. The protagonist's tragic fall sees her descend to a loveable childlike state. Macki’s characterisation is both empowering and endearing.
Evolving as Lear’s mirror image, Alice Proctor serves up a compelling performance as Edgar. A foppish dandy turned outcast in the guise of ‘Poor Tom’. Edgar’s road back to redemption is depicted with wonderful physicality, playfulness, and an emotive translation of every word.
As the pair spend the night in a homeless shelter, surrounded by supportive strangers, we see the historical monarch tip-toe into a distinctly current climate. Here begins director Kayleigh Hawkins’ infusion of thoughtful political commentary.
Bringing the production yet closer to the present day, an inexplicable - yet undeniably eerie - soundtrack from David Bowie layers upon scene changes. Transitioning from ambient candles to fluorescent strip lighting, each element of this production strives to bring the Shakespearean drama closer to its 21st-century audience.
Take Zoey Barnes’ costume design, which is at once traditionally formal and distinctly effeminate. There is not an ounce of Renaissance cross-dressing in this production. Female actors play historically male roles with strength free from gendered definition. And, in a subtle stroke of design genius, the Fool’s costume is crafted from other cast members’ offcuts. Phoebe Farrington’s Fool forms a literal reflection of the society they observe and ridicule.
As with almost any Shakespearean production, Lear is incredibly verbose and much of the action is written to take place off-stage. Despite the confines of some inevitable stop-start scenes, this company fill the stage in between with dramatic physical exchanges and a welcome dose of humour too.
As the bastard son, Edmund, Haylie Jones serves up a sinister dose of sass from the play’s outset. Her self-assured stance (or, indeed, tabletop lounge) exudes a sense of sexuality that reels in both of Cordelia’s “ugly sisters”. Edmund is the villain we can’t help but fall for.
Edmund’s stage combat sequence with brother Edgar is worth a mention of its own. The scene is meticulously choreographed by Kaitlin Howard and is a fitting climax for this pair of standout performers.
Gina Fillingham as Goneril is uncharacteristically charming. As a fraught, spoilt princess, she brings humour and a heretofore unseen likeability to the role. And this lightness in Goneril casts a darker shadow than ever on her sister Regan, played with stony-faced harshness by Teddy Oyediran. The horrifying scene in which Regan and husband Cornwall (Amy Du Quesne) show their true colours is gorey, dramatic, and beautifully twisted. In place of a weapon, a red stiletto heel seems particularly fitting for this empowering all-female rendition.
Surrounding these standout performances, Lear is a real triumph of ensemble performance. Every cast member (bar Lear themself) plays multiple roles, filling the stage as a fitting royal entourage, a homeless shelter community, or assorted soldiers and supernumeraries. This diverse cast come together seamlessly to form a single body of interchangeable parts.
It’s a rare treat to witness such strong performances in a relatively hidden, neighbourhood theatre. There is a distinct sense of community both on and off stage, as Her Productions celebrate classic theatre in a Northern, female voice.
Her Productions’ rendition of Lear runs at Hope Mill Theatre, Manchester, until Sunday 18th June. The show will then feature at Shakespeare North, from 21-24th June. For more information and to book tickets, visit the Hope Mill website. https://hopemilltheatre.co.uk/event/lear/
Read more of our thoughts on Her Productions’ all-female shakespeare: A Midsummer Night’s Dream.
