King Lear - Even a King Can Have Family
Problems
by William Shakespeare
starring Ted van Griethuysen as King Lear
directed by Michael Kahn
August 31 – October 24, 1999
The Shakespeare Theatre
450 7th Street NW
Washington, DC 20004-2241
Box Office: (202) 547-1122 (voice)
TTY: (202) 638-3863
By
Shirley J. Gregory
King Lear is a story about generations and family relationships.
But, it is a dark story of
children verses parents, even in the subplot.
The classic story about a man who worked so hard to provide for his
family that he forgot what he was working for, the King, like many modern men
and women, gave material objects and prosperity to his children instead of
himself.
Photograph: King Lear Program cover
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In his old age he tries to show them love, but his children
are too used to an indifferent father, and are too old to appreciate the love
gesture now.
What do children owe their parents? When
parents have lived their lives according to their own designs, towing children
along in their wake, but giving little of their time or attention, how much do
the children owe their parents when they’re old and ready for family
relationships? The question is
compounded when the parent also wants to walk away from all responsibilities and
be provided for by the children in the manner to which they’ve become
accustomed. Are the children
obligated to assume these additional obligations without compunction?
The Bible instructs children to honor their parents – that it is their
minimum obligation to their parents, even if their parents are undeserving in
their eyes.
It appears to be a fact of nature
that those who ignore their gentler emotions in their youth – whether to build
kingdoms or multi-billion dollar corporations – are fated to be ruled by their
emotions in their later years. This
was the King’s downfall. He made
the startling proclamation that he was retiring and splitting his kingdom among
his three daughters based on emotions (how much they loved him) instead of the
strategic, objective thinking that helped him build a kingdom.
King
Lear (portrayed by Ted van Griethuysen) felt he had a right to retire with a
measure of the pomp and circumstance and the title of a King after many long
years of establishing his kingdom. In
his old age he wanted to divest himself of the work of ruling it, and enjoy the
fruit of his labor. He wanted to
divided his kingdom among his three daughters on the basis of how much they
loved him. The two elder sisters,
Goneril (Tana Hicken) and Regan (Jennifer Harmon), flattered him to the skies
with professed love, which he assumed was his due.
What he failed to realize is that it was his power in which they were in
love, not the man.
The
youngest daughter, Cordelia (Monique Holt), could see through her sisters’
elaborate protestations of love if her father could not, and desired not to give
even the appearance of flattering
him, but erred by being too conservative in her declarations of affection. Her simple truth that she honored and loved her father with a
child’s duty seemed cold and miserly compared to her sisters’ flowery
professions of love, especially since he had always loved her the best.
He thereby divided his kingdom in two and banished his Cordelia for
betraying the love he’d showered on her.
By divesting himself of everything but the title of King and a small
regiment of guards, he retired to enjoy his old age.
He gave no thought to the dangers of putting himself at the mercy of his
two daughters who had never loved him, and now had no reason to respect him.
This
production of King Lear was a little
disappointing. We’re not drawn
into the story or characters. Most
of the cast resembled cardboard players; they did not bring the characters to
life for us. There was a lot toeing
the mark and positioning on stage, but the actors are merely spouting lines.
One exception was Ted van Griethuysen, as King Lear, who dominates the
stage, as he should, at the beginning. But,
unfortunately, his character’s fate is allowed to be overshadowed by the fate
of lessor characters. Henry
Woronicz (stand in for Edward Gero), as the Earl of Kent, and Andrew Long
(portraying Edmund, bastard son to Gloucester), likewise exceptions to the rule,
wore their roles strongly; their roles did not wear them.
Monique
Holt was hampered in giving us her best in her portrayal of Cordelia.
For, in some performances of this production, Cordelia is a deaf mute.
It seemed so strange to hear “Dear Father, …” speeches translated
by the fool (and other men) as she signs. The
character we want to feel the closest to is distanced from us as some of the
play’s most moving father-daughter speeches are delivered in two men’s
voices. With only three female
speaking roles, King Lear needed Cordelia’s female voice to bring balance,
reason, emotion, and true parental love.
For
information and to purchase tickets call 202/547-11122 (voice) or 202/638-3863
(TTY)
The
Shakespeare Theatre
516 Eighth Street SE
Washington, DC 20003-2834