King Lear

By William Shakespeare (but, you likely knew that already)

Co-Directed by Ian Ferguson, Emily Ernst and Sara J. Romersberger

Associate Directed by Liv King

Produced by Fair Assembly

Audience rating: PG-13

Running Time: 2 hours including 15 minute intermission

Accessible Seating: Available

Hearing Devices: Not available

Sensory Friendly Showing: Not available

ASL ,howing: Not available

Sound Level: Comfortable

Noises or Visuals to Prepare for: thunder, abrupt lighting changes, sword fighting, death, blood, gruesome depictions, sexual innuendo

Reviewed by Natalie Shaw

Flattery will get you everywhere. A sheepish smile, striking good looks, essence of charm and a worshiping wagging-of-words will find you quite pleasing in the eye of your beholder. But, does pleasure account for true love? Perhaps, for those accustomed to admiration, there is no difference.

The arrogant King Lear, as many are familiar, learned this lesson too late. But, his story is evermore provoking, today. Three daughters, two sons-in-law and a vast kingdom to divide before his death, Lear (played by Dennis Raveneau) sets out to divide the inheritance among them. All distinguished are present. The map of his kingdom is laid out. In return for his thoughtful gifts, Lear desires that his daughters express their love for him in words, publicly, for all to hear. First up- Goneril (Betsy Roth) gives an exceptional speech, proclaiming her affection for her father. Next, Regan (Caitlin Chapa) follows suit, with slightly more zeal than her sister. Third, and final, is Cordelia (played by Elizabeth Akudugu with candid humanity) who has no way with words. She can only proclaim, simply and matter-of-factly that she loves her father without unnatural measures in which to weigh it. This will not do! Lear is beside himself with fury at her offense, and, despite the loyal Lord Kent's (Jon Garrard) best attempts, he will not be soothed. Poor Cordelia is cut off! She will have nothing! Her dowry being destroyed leaves her two suitors astonished and conflicted. Duke of Burgundy (Eli Williams) is first pressed to make his choice. Without her wealth, she is nothing to him; he declines. However, the King of France (played with sincere compassion and care by Eduardo Velez III) "seize[s] upon" it, telling her that she is" most rich being poor." Devastated, but not destitute, our girl reclaims her dignity and presses on, with her regal husband beside.

There is more to this woeful fable, though; further damage to be done. With their inheritance already assigned, Goneril and Regan have no further use of the old man. They betray him; casting him out into a violent storm, leaving him to withstand or wither upon his own free will. Herein lies our deceitful theme, proved further in the "meanwhile" of our story line. Meanwhile, the Earl of Gloucester (Ed Wall,) friend and confidant to King Lear, is solicited against his legitimate son Edgar (played by Brandon James Walker with credible commitment) by his bastard son, Edmund (Mac Welch,) almost too easily. Edmond's ambition is driven by his piteous quest for legitimacy; to be named the rightful heir to his father's fortune. Ambitions thrive and cultivate into a winner-takes-all mentality, slaying anyone and anything in their path.

I have yet to see a stronger Lear than Dennis Raveneau, a true applicant of Shakespeare and his language. Raveneau is transparently authentic in his character approach; vulnerably submitting to the poetic language and captivating us with every word. Likewise, Mac Welch uses Edmund's "honorable" vernacular to spin convincing speeches, exhibiting a character that is charming, relatable, and dare I say, likable--oh, how easily we are won! Betsy Roth is authoritative, assuming Goneril's leadership role immediately, knocking over her oppressors with threats, demands and intimidation, all without getting her hands dirty, thanks to her faithful, but shifty servant Oswald (Blake Hametner.) Caitlin Chapa pushes back with equal force in Regan, who is seemingly stable, but with a toxic dependency on validation and crave for attention, usually fulfilled by her husband, the Duke of Cornwall (Christian Taylor.) Taylor's Cornwall is determined, lusty, intensely passionate and dangerously so. Intuitive, strong and steady is the Duke of Albany (Brian Gibson) who catches on to his wife, Goneril's antics from the word go; he knows her game and he did not come to play! One who did come to play is the Fool (Emily Ernst,) who embraces an immature humor sprinkled with cunning wisdom and wholesome reflections. Jon Gerrard's Lord Kent is graciously steadfast, proving to be the noble son Lear didn't have. And Ed Wall's Gloucester is easily moved, tragically seeing only what he wants to see.

Co-Directers Ian Ferguson, Emily Ernst and Sara J. Romersberger have constructed a production that leans into the poetic language of Shakespeare that we all know and love. Special music by Ferguson, streamlined costume design by Maya Reddy and tactical lighting design by Adam Chamberlin add elegance and depth to the overall experience of the production.

Fair Assembly has fully grasped the intricacy and grandeur of King Lear. It is clear, they have done their homework, having put in the meticulous time and creative effort needed for a modern audience to appreciate Shakespeare's age-old story about "the mad king." Not only will you capture the message, but you will capture the beauty of this exceptional play that is so perfectly timed in our political society. You will not leave the theater lighter than you came, but you may leave more sensible. Don't miss this opportunity to see this incredible production! Tickets can be purchased at https://www.fairassembly.com/king-lear-summer-2024 King Lear runs through August 17th at the Latino Cultural Center in Dallas.

Enjoy!

Natalie

Read more about Fair Assembly's King Lear in the extended review!