The big advantage, traditionally, of filmed Shakespeare is intimacy: with no need to project, your Iago can whisper, your Hamlet can murmur. It runs at a brisk two-hours, but that leaves the fiendishly complicated and at times, pretty implausible political and emotional machinations just whizzing past you like so many bullets. That cast, though. Regan and Goneril are not mere evil harpies, nor is Cordelia a sweet saint. The sisters have to put up with much raging, and even psychical oppression, from this patriarch Eyre even includes a dubiously underdeveloped moment when Lear forces a kiss on Goneril. Elsewhere, it can be a murky adaptation.
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The Flip Side: NYC Theater Roundup—'King Lear' in Central Park, 'Sex with Strangers' off-Broadway
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King Lear review – Glenda Jackson makes a triumphant return to the stage
In an uncanny way, she transcends gender. Jackson, like all the best Lears, shifts in a moment between madness and sanity, anger and tenderness, vocal force and physical frailty. Her great gift, however, is to think each moment of the play afresh. She enters, without undue ceremony, hand in hand with her beloved Cordelia.
What Are Mishti? I'm Two Feet Away! As an old ruler is struggling with his grip on reality, his most trusted advisors and beloved children turn on him — and battle it out for ultimate power.