There has not, since 2007, been a National Theatre production of a Shakespearean play anything like as engaging, thrilling and involving as the Sam Mendes helmed revival of King Lear now playing in the Olivier Theatre.
It is as near perfect a piece of dramatic theatre as one is ever likely to see. What Herrin and his team have achieved here is utterly, unquestionably remarkable. It is good old-fashioned entertaining theatre, built solidly with fine acting and a tremendous narrative. There are no “concepts” here – just a desire to tell a marvellous theatrical tale.
As Act One trundles along, there is absolutely no sense that anyone on stage has any idea what they are doing or why.
The piece has no idea what it is doing: it does not tell any story well or with feeling. You know as much about Stephen Ward and his part in the Profumo scandal when the final curtain falls as you do when the opening notes sound in the orchestra.
it reflects the standards, achievements and sense of the entire season: A great play, a real star at the heart of the production, a set design redolent of the Donmar Grandage seasons and some spectacularly awful casting.
Rightly, the cast received a standing ovation at the RST – an unusual sight at Stratford Upon Avon. This is a startlingly clear and quite gorgeous production of a play which can seem convoluted and which, really, has no heroes.
It’s a worthwhile night at the theatre, quite engrossing, but it does not reach the level of excitement it ought.
The nine boys are, in an unqualified way, magnificent: the line-up here is better than the Vineyard line-up. Each of the nine can sing, dance and act. They are simply tremendous: with special, remarkable turns from James T Lane (seriously, just get the awards engraved now), Kyle Scatliffe, Clinton Roane and Carl Spencer. When they all sing together, it is unarguably thrilling.
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