MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
King Lear
Bristol Old Vic
3/5
APPROPRIATELY, when “the realm of Albion has come to great confusion” and we are told that the nation is critically divided between youth and age, Shakespeare’s greatest play is a bold choice for this collaboration between Bristol Old Vic Theatre School students and a core of established actors.
Director Tom Morris has sensibly gone for simplicity in his somewhat truncated adaptation, which opens with what could have been a wild end-of-term student bacchanal. The gulf between Timothy West’s crusty Lear, David Hargreaves’s easily beguiled aged Gloucester and Stephanie Cole’s grandmotherly Fool and the rest of the youthful cast brings home generational tensions.
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today


