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With its convoluted double plotting and contradictory nature, King Lear
is one of Shakespeare's more mammoth efforts, a play notoriously difficult
to pull off convincingly even with topflight talent. For despite all the
larger than life conniving, betrayals and bloodletting racing through the
plot, the characters themselves are simply frail, flawed and frightened
human beings.
With a multiracial cast of uneven ability, Floyd Rumohr's production at
the Chekhov Theatre Ensemble nevertheless scales this Everest with an ease
that is breathtaking, displaying a vision of the piece that is startlingly
clear in it's intensity and execution, never losing sight of the humanity
at its core. The production is so consistently sure of itself that it gracefully
survives the disparity in casting: each character being as sharply defined
and performed as each actor is able to make him, the result is a performance
of remarkable unity and precision.
As Lear, Milton Carney roars through the role of the old king with a ferocity that takes you by the throat; self assured and commanding, he is still able to display a tragic vulnerability as he descends into madness, genuinely confused and angered by his children's behavior, yet never falling into the trap of self-pity. Fred Berman, as The Fool, gives a complementary performance, breaking your heart with his wisdom. As the cuckolded Duke of Albany, Tyree Giroux displays a dignity that never diminishes even as his rage grows, and the darkly compelling Michael Aronov takes spectacular risks with the role of Edgar that pay off in an intelligent, over-the-top performance that somehow never spins out of control. Other outstanding performances include the icy, regal Regan of Sharon Gardner, the elegantly slimy Cornwall of Jason Hooper, and the neurotic, sexy Goneril of Donna Browne, as well as generally fine work from Julie Pasqual as Cordelia, John Fiske as Kent, Roy Arias as Edmund, Paul Barry as Gloucester, and in a variety of roles, Jon Shaver.
Visually, the production is stunning. Sets (by Megan K. Halpern), costumes (by Andrea Huelse) and lighting (by Jason A. Cina), all in cool silvers and blues mixed with warm taupes, grays and greens, work as a whole to delineate mood, place and character with a fluid, sophisticated (and deceptive) simplicity. Adding another level of professionalism to the evening is the haunting musical score and sound design of Margaret Pine, as well as the graceful choreography and fight sequences of Jessica Nicoll and John V. Bellomo.
Floyd Rumohr and the Chekhov Theatre Ensemble have taken on one of Shakespeare's more daunting war-horses and delivered a production that raises the bar considerably for Off-Off Broadway standards. (Also featuring Tim L. Cooke, Donovan C. Knowles, Rafael Phénix, and Matthew Schmidt)