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Some of them stick. Running three and a half hours padding out the folio with bits of the quarto, like the mock trial scene , the production brings avant-garde techniques to Broadway with variable success. At intermission and for the storm scene, a metal curtain descends.
Might, like age, is unsexing. In the first scene, Lear treats his succession planning as some great joke. Without a kingdom at his command, the joke will be on him. Jackson, who made her return to the stage with a Lear in London in and may have applied lessons learned from a distinguished parliamentary career, attacks the role with ferocity and precision.
She is an actor of great lability and great economy; even her extremes never feel indulgent. Her Lear is clever, sometimes playful, an able ruler corrupted by his own authority and unable to imagine a life absent of clout. Marvel, as formidable as ever, and Wilson, who also doubles as the fool styled her as a kind of music hall masher and always looks like she has just eaten a lemon and liked it, also have a superb specificity.
And Maher, as Oswald, is beautifully idiosyncratic, with a very funny death scene. Gold always has something going on, but so does this torturous, torturing play. Is Lear somehow unstageable — too bleak, too awful, too extra? We that are young shall never see so much or sit so long. Topics Broadway. Glenda Jackson Theatre reviews. Reuse this content. Order by newest oldest recommendations. Show 25 25 50 All.
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