VIEWPOINTS – Shakespeare in Brooklyn: KING LEAR at BAM and THE WINTER’S TALE at TFANA

Two of this winter’s most high profile productions of Shakespeare plays were not to be found in Manhattan, but rather in Brooklyn. Indeed, the Royal Shakespeare Company’s anticipated staging of King Lear (RECOMMENDED) opened yesterday at the Brooklyn Academy of Music, while just a block away, Theatre for New Audience recently wrapped up performances of The Winter’s Tale (RECOMMENDED). And not too long from now, St. Ann’s Warehouse in Brooklyn Heights will be screening its tremendous, justly-celebrated trilogy, co-produced with London’s Donmar Warehouse, of its all-female Shakespeare productions (comprised of Julius Caesar, Henry IV, and The Tempest).

Antony Sher as "King Lear" in the Royal Shakespeare Company's production at BAM Harvey.

Antony Sher as “King Lear” in the Royal Shakespeare Company’s production at BAM Harvey.

Without a doubt, Sir Antony Sher is one of the most important Shakespearian actors of our time. Over the years, I’ve marveled at his piercing performances, from his psychologically astute Macbeth to his knowing Falstaff. Now he takes on the Everest of roles, Lear, which he has alleged will be his swan song to stage acting. New York is lucky to get to experience this farewell in a traditional, deeply humanistic production by his partner, Gregory Doran, himself a former artistic director of the RSC. I’ve rarely seen a King Lear in which nearly every character depicts, at one point or another, valid points of view (even the treacherous princesses Goneril and Regan are thoughtfully portrayed). Likewise, Sher makes for an introverted Lear, a role historically marked by many a grand actorly moment. The play’s big moments – the raging storm scene, Cordelia’s death lament – are pitched at a lower key than you’d expect, making for a less filling King Lear than many of us are familiar with. But take a closer look, and you’ll see an intelligently-rendered “everyman” Lear that’s moving on its own very human terms; this is a Lear you can identify with. Still, a part of me missed the trademark grandeur of past performances, many of them set in harrowing post-apocalyptic times, of Lear I’ve seen.

Kelley Curranand Nicole Rodenburgin in TFANA's production of "The Winter's Tale".

Kelley Curranand Nicole Rodenburgin in TFANA’s production of “The Winter’s Tale”.

Theatre for a New Audience’s production of The Winter’s Tale was also worth an excursion to the neighboring borough. The play, which has typically been considered one of the Bard’s “problem” plays for its jarring tonal and temporal shifts, has in the past few years enjoyed an increasingly frequent number of productions. It seems that theater-makers are now embracing the play’s contradictions and mysteries (such is life, no?). And there are few scenes in all of Shakespeare as inherently bittersweet as its conclusion. TFANA’s solidly-acted production, confidently and cleanly directed by Arin Arbus, doesn’t focus on solving any of the play’s perceived challenges, but instead spends its efforts excavating the relationships within it. As a result of this re-examination, the women in the play turn out to drive the story. Hermione maybe did flirt with Polixenes. Without Paulina, the Leontes clearly would have collapsed into his grief during the play’s famous time lapse. Perdita is definitely not a damsel to be distressed. These fascinating renditions only deepen and crack open a play that has been perhaps unfairly misinterpreted.

 

KING LEAR
Off-Broadway, Play
The Royal Shakespeare Company at BAM Harvey
3 hours, 20 minutes (with one intermission)
Through April 29

THE WINTER’S TALE
Off-Broadway, Play
Theatre for a New Audience
2 hours, 50 minutes (with one intermission)
Closed

 

Categories: Off-Broadway, Theater

Leave a Reply