directed by Yvonne Brewster
The Nia Centre, Manchester
24 - 26 February 1994
The Queen's Theatre, Barnstaple
2 - 3 March 1994
The Playhouse, Oxford
8 - 12 March 1994
The Cochrane, London
16 March - 16 April 1994
"The tragedy of Lear is deservedly celebrated among the dramas of Shakespeare. There is perhaps no play which keeps the attention so strongly fixed; which so much agitates our passions and interest, the striking opposition of the characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity and hope."
Samuel Johnson 1709-1784 Critic, Poet, Lexicographer
Gallery
"Poor naked wretches, whereso'er you are, That bide the pelting of this pitiless storm, How shall your jouseless heads and unfed sides, Your looped and windowed raggedness defend you From seasons such as these?"
Act 3, Scene 4
" When Lear rushes off into the storm, accompanied only by the Fool and Kent, he crosses the divide between the social world and no-man's land, beyond reason and obligation. In Shakespeare's time, this no-man's land was very close, at the edge of the city and the village. The Heath was the huge expanse of England beyond the reach of enclosing agriculture and the centralising state, a realm of wild growth and darkness without police patrols, King's highways or lights."
"It was the home of escapees from village or paupers denied their parish settlements, vagrants escaping the oppression of wage labour, masterless men without land of trade of their own and madmen like Tom O Bedlam, fugitives from justice and old people abandoned or thrown out of their families. This world exerted a strong hold on Shakespeare's imagination."
"The heath of Shakespeare's time has now gone. The landlords fenced it in. Lighted ways were pushed through the darkness. The vagrants are now in the shelters, in the city co-existing with the wealthy and powerful."
Michael Ignatieff ""The Needs of Strangers" (1984)
"I am not writing of the "lower class" as that term is usually understood, but of the class even further down, the lowest class. . .the homeless. We are in fact in society - the despair of reformers and the misery of ourselves. For us there is no hope of better things. Our distinguishing feature is that we have no hope for the future; we have become so hardened in it that we accept, without dreaming of other possibilities our position. We go sullenly on despairing, or, rather, too hopeless to know despair, which only comes from unavailing hope, and we don't have any hope."
"It was just gone midnight. . .just down over the south end of the bridge these used to be some sheltered sears outside the church; but when they found we used them at night the good people of christ church removed them and would not open the church up for shelter so here we are under the bridge."
"I don't suppose I am a very desirable companion for anyone, for my coat is in tatters, my feet show through the rents in my boots and it would be impossible for a human face to wear a very good favoured expression under these conditions; but for all that I am not an actual dog, as every passer by seems to think me, I am the butt of everyone's scorn."
Anon. The Echo, London (1888)
The Soundscape of King Lear
King Lear's world is a world devoid of melody. It is a world where only a fool would sing.
From the text, the function of music would appear to be purely primal: with its flourishes, sennets, tuckets and battle drums, its function is almost exclusively limited to punctuating the passage of power. It is only in the inner world of Cordelia and King Lear himself which provides a refuge for the last vestige of melody.
As a composer, I have tried to create a soundscape which would emanate from this world. Technology has been used to strip music back to the bare essentials of electronically charged rhythms and pulses, a concoction of sampled fragments of sound and synthesis. If there is a melody in the court of King Lear, it is hewn from the rawest human material, breath itself. If there is a rhythm in this future world, it is the pulse of Africa.
Matthew Rooke
"He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew, not laboriously but luckily; when he describes anything, you more than see it, you feel it too."
John Dryden 1631-1700 Poet
"With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his. . .But I am bound to say that I pity the man who cannot enjoy Shakespeare."
George Bernard Shaw 1856 0 1950 Dramatist
Cast
Kent
David Webber
Gloucester
David Fielder
Edmund
David Harewood
Lear
Ben Thomas
Goneril
Lolita Chakrabarti
Regan
Cathy Tyson
Cordelia
Diane Parish
Burgundy
Karl Collins
France
Evroy Deer
Edgar
Dhirendra
Oswald
Karl Collins
Doctor
Evroy Deer
The Fool
Mona Hammond
Cornwall
Jeff Diamond
Albany
David Prescott
Other parts played by members of the Company
Creatives
Director
Yvonne Brewster
Designer
Ellen Cairns
Lighting
Ace McCarron
Choreography
Greta Mendez
Music
Matthew Rooke
Voice workshops
Cicely Berry