Creative approaches to Lear

Women

Co-director and lead actor Michael Hurst is curious about the lack of mothers in the play. Would the presence of women with authority have changed the course of events? The directors’ casting choices have amplified this idea, re-casting the traditionally male roles of Kent, Edmund and The Fool with female actors.

Power

The directors, Ben Henson and Michael Hurst, are also interested in the flow-on effects of powerful people making selfish decisions. There are moments in this production where we glimpse a world beyond the main characters which is dealing with the consequences of their decisions. When the characters closest to Lear try to tell the truth, he sends them away.

MADNESS & SUBJECTIVE REALITIES

At its most domestic, Lear is an unflinching portrait of old age and mental ill-health. Both Elizabeth Whiting (costume) and Vanda Karolczack (lighting) were drawn in part to Lear’s madness, and the effect this has on his perceptions of the world. They wondered if it would be possible to create a stage space in which the lines between objective and subjective reality are blurred, and Lear’s madness begins to “bleed” into the stage picture.

Nothingness And The Limits Of Language

Perhaps uniquely among Shakespeare’s plays, Lear does not so much flaunt the spoken word as reveal its limitations. Increasingly, the characters fail to express themselves coherently, descending into gibberish or, in the case of the final scene, sounds that reveal our animal nature: “Howl, howl, howl, howl …” Sound designer John Gibson compliments this breakdown of language with a-tonal compositions that emphasises the silence — nothingness — between sounds as much as the sounds themselves.

What is the sound of the sound of nothing?

Turns out there is a whole science of music devoted to this; the Japanese concept of MA, the sound between the notes. To make these sounds, I turned to my friends at the Audio Foundation, home of extraordinary musicians and invented instruments. Recorded at the Audio Foundation, the music you hear in King Lear was composed from improvisations by these musicians.

– John Gibson, Composer & Sound Designer

EARLY-MODERN STAGING PRACTICES

Finally, the influence of Elizabethan theatres can be felt in John Verryt’s (set design) suggestion to stage King Lear in traverse. In this arrangement, the actors are not separated by a proscenium but instead share space with the audience. Eye contact can be made with the actors and also the audience on the other side of the stage. The resulting effect is one of inclusivity; of private events being made public. The audience are not just witnesses, but participants in the events of the play.

Meet the Characters

King Lear

The Fool

JOHN VERRYT Set Designer

JOHN VERRYT Set Designer

The ageing king who divides his kingdom among his three daughters based on their professions of love for him. Lear is proud, impulsive and easily influenced. He undergoes a tragic journey of self-discovery and a descent into madness as he faces the consequences of his actions.

VANDA KAROLCZAK Lighting Designer

VANDA KAROLCZAK Lighting Designer

ELIZABETH WHITING Costume Designer

ELIZABETH WHITING Costume Designer

Lear’s court jester, who serves as a voice of reason and truth throughout the play. The Fool uses humour and wit to crititicise Lear’s actions and provide insights into the unfolding events. Despite her humorous demeanour, the Fool often speaks profound truths.

“Who is it who can tell me who I am?”

Goneril

Lear’s eldest daughter, married to the Duke of Albany. Initially, she professes her love for her father to gain her share of the kingdom but, later, reveals her true nature as cunning and manipulative. She soon turns against Lear, contributing to his downfall, alongside her trusted servant, Oswald.

John Verryt began designing for performance in 1979, training at Theatre Corporate and Mercury Theatre. John works regularly as a freelancer for many of New Zealand’s foremost performing arts companies, including Auckland Theatre Company, Silo Theatre, Indian Ink, Red Leap Theatre, The Large Group, Nightsong, New Zealand Opera, Douglas Wright Dance Company, Michael Parmenter and Malia Johnston, and Atamira, Ōkāreka and Black Grace Dance Companies. Recent Auckland Theatre Company shows designed by John include: Long Day’s Journey into Night, Once on Chunuk Bair, Jesus Christ Superstar, Rupert, The Navigators, Rendered, Astroman and The Haka Party Incident.

John Verryt began designing for performance in 1979, training at Theatre Corporate and Mercury Theatre. John works regularly as a freelancer for many of New Zealand’s foremost performing arts companies, including Auckland Theatre Company, Silo Theatre, Indian Ink, Red Leap Theatre, The Large Group, Nightsong, New Zealand Opera, Douglas Wright Dance Company, Michael Parmenter and Malia Johnston, and Atamira, Ōkāreka and Black Grace Dance Companies.

“Sir, I love you more than words can wield the matter."

Originally from Montreal, Vanda Karolczak has been living and working in Aotearoa since 1999. Her lighting design work for theatre, dance, television, fashion and music in North America, the UK and New Zealand spans more than 30 years. In the UK and Canada, she toured with acts such as Robert Plant, Erasure and Alexandre O’Neill, and spent five years touring with Les Grands Ballets Canadiens.

Originally from Montreal, Vanda Karolczak has been living and working in Aotearoa since 1999. Her lighting design work for theatre, dance, television, fashion and music in North America, the UK and New Zealand spans more than 30 years.

Regan

Lear’s middle daughter, married to the Duke of Cornwall. Like her sister Goneril, Regan initially flatters Lear to secure her inheritance but reveals her ruthless and cruel nature as the play progresses. She becomes Goneril’s ally in opposing Lear and contributes to his suffering.

Recent Auckland Theatre Company shows designed by John include: Long Day’s Journey into Night, Once on Chunuk Bair, Jesus Christ Superstar, Rupert, The Navigators, Rendered, Astroman and The Haka Party Incident.

“O, sir, you are old. You should be ruled and led by some discretion, that discerns your state better than you yourself.”

Cordelia

Lear’s youngest and favourite daughter. Unlike her sisters, Cordelia refuses to flatter her father with insincere declarations of love. This honesty leads to her disinheritance and banishment from the kingdom.

“Dost thou know the difference between a bitter fool and a sweet one?”

Earl Of Gloucester

In the UK and Canada, she toured with acts such as Robert Plant, Erasure and Alexandre O’Neill, and spent five years touring with Les Grands Ballets Canadiens.

Elizabeth Whiting has designed costumes for Auckland Theatre Company, Silo Theatre, Nightsong, New Zealand Opera, Indian Ink, The Court Theatre, Red Leap Theatre, The New Zealand Dance Company, Ōkāreka Dance Company, Douglas Wright Dance Company and many others.

Elizabeth Whiting has designed costumes for Auckland Theatre Company, Silo Theatre, Nightsong, New Zealand Opera, Indian Ink, The Court Theatre, Red Leap Theatre, The New Zealand Dance Company, Ōkāreka Dance Company, Douglas Wright Dance Company and many others.

A nobleman and a loyal supporter of Lear. Gloucester’s story runs parallel to Lear’s, as he too experiences a downfall caused by the machinations of his illegitimate daughter, Edmund.

“But I have a son, madam, by order of law.”

Edmund

Since coming to New Zealand, Vanda has been involved in the Indigenous contemporary dance space, working with established companies such as Ōkāreka Dance Company and Atamira Dance. Her designs for dance include Mana Wahine (Okareka Dance Company), Te Manawa, Wired and Hōkioi me te Vwōhali. Her work for Atamira includes the award-winning Ngai Tahu 32, Taonga, Onepū, Memoirs of Active Service, Tomo, Mitimiti, Te Houhi and Ngā Wai, which premiered in 2020.

Cordelia embodies loyalty, virtue and integrity.

“So young, my lord, and true.”

Elizabeth was responsible for the central performance design for the World of WearableArt for six years. Her work has been presented at Edinburgh Festival and the Prague Quadrennial of Performance Design and Space. She won the Chapman Tripp Theatre Award for Costume Design for The Arrival (Red Leap Theatre). Her opera designs have been well reviewed in Australia and the United States.

Elizabeth was responsible for the central performance design for the World of WearableArt for six years. Her work has been presented at Edinburgh Festival and the Prague Quadrennial of Performance Design and Space. She won the Chapman Tripp Theatre Award for Costume Design for The Arrival (Red Leap Theatre). Her opera designs have been well reviewed in Australia and the United States.

Gloucester’s illegitimate daughter. Edmund resents her status as a bastard and schemes to gain power and legitimacy. She is cunning and manipulative and fuels the conflict between her father and her brother, Edgar. A formidable character, she succeeds in almost all of her schemes, wreaking destruction upon virtually all of the other characters.

“Let me, if not by birth, have lands by wit.”

Edgar

Vanda also works in Biosecurity Compliance and is a long-serving member of the Piha Surf Life Saving Club.

Since coming to New Zealand, Vanda has been involved in the Indigenous contemporary dance space, working with established companies such as Ōkāreka Dance Company and Atamira Dance. Her designs for dance include Mana Wahine (Okareka Dance Company), Te Manawa, Wired and Hōkioi me te Vwōhali. Her work for Atamira includes the award-winning Ngai Tahu 32, Taonga, Onepū, Memoirs of Active Service, Tomo, Mitimiti, Te Houhi and Ngā Wai, which premiered in 2020. Vanda also works in Biosecurity Compliance and is a long-serving member of the Piha Surf Life Saving Club.

Gloucester’s legitimate son and the play’s main source of moral integrity. Falsely accused by his sister, Edmund, Edgar goes into hiding and disguises himself as ‘Poor Tom’, a mad beggar, to survive. Edgar ultimately seeks to restore order and justice in the kingdom.

“Some villain hath done me wrong.”

Most recently, she has designed costumes for: Long Day’s Journey into Night and The Life of Galileo for Auckland Theatre Company; A Stab in the Dark for Nightsong; The Most Naked for projectMUSE, The Hall for Bullet Heart Club, Paradise or the Impermanence of Ice Cream for Indian Ink; and Don Pasquale for New Zealand Opera.

Most recently, she has designed costumes for: Long Day’s Journey into Night and Life of Galileo for Auckland Theatre Company; A Stab in the Dark for Nightsong; The Most Naked for projectMUSE, The Hall for Bullet Heart Club, Paradise or the Impermanence of Ice Cream for Indian Ink; and Don Pasquale for New Zealand Opera.

Duke Of Albany

The Duke of Albany is married to Goneril, Lear’s eldest daughter. Initially, the Duke of Albany is obedient to his wife’s desires, aligning himself with her ruthless pursuit of power. However, as the play progresses, he begins to question her actions and becomes a voice of opposition against her cruelty.

“The weight of this sad time we must obey; Speak what we feel, not what we ought to say.”

Duke Of Cornwall

The Duke of Cornwall is the husband of Regan, Lear’s middle daughter. He aligns himself with his wife and supports her in her pursuit of power. Together, they conspire against Lear and contribute to his downfall. He is a ruthless and power-hungry character, driven by ambition and a desire for control.

“Shut up your doors, my lord; ’tis a wild night: My Regan counsels well; come out o’ the storm.”

King Of France

The King of France is a noble and honourable character who is engaged to Cordelia, the youngest daughter of Lear. When Cordelia is disowned and banished by Lear, the King of France stands by her side and maintains his commitment to marrying her, despite her diminished social status.

“Fairest Cordelia, that art most rich, being poor; Most choice, forsaken; and most loved, despised!”

Duke Of Burgundy

The Duke of Burgundy is a suitor of Cordelia, Lear’s youngest daughter. He initially expresses his desire to marry Cordelia and gain her dowry, which was part of Lear’s plan to divide his kingdom among his daughters. However, when Cordelia is disowned by Lear, the Duke of Burgundy withdraws his proposal.

“I crave no more than what your highness offered, Nor will you tender less.”

Duchess Of Kent

A noblewoman and one of Lear’s most loyal followers. The Duchess of Kent remains faithful to Lear even after being banished for defending Cordelia. She disguises herself as ‘Caius’ to continue serving Lear and plays a crucial role in protecting the king.

“Royal Lear! Whom I have ever honoured as my king, As my master followed, As my great patron thought of in.”

Oswald

Oswald is a servant in the household of Goneril, Lear’s eldest daughter. He is conniving, opportunistic and aligns himself with Goneril and Regan to further his own interests. Throughout the play, Oswald clashes with the Duchess of Kent, who sees through his deceit and recognises his lack of integrity.

Oswald represents the cunning and treacherous individuals who thrive in a morally chaotic world.

“Why dost thou use me thus? I know thee not.”