'King Lear' offers perils of retirement

Crowning the Shakespeare NW’s “The Summer of Blood!: Madness and a thousand terrible things” is “King Lear” considered by many Shakespeare’s greatest tragedy.

Director Trey Hatch sets his production in the Roaring Twenties. The 17th century was another time of excess and uncaring cruelty, of living for the moment. The Roaring Twenties were the false ‘20s, a time of greedy accumulation. Congratulations to Hatch, Costume Designer Elizabeth Lundquist and Costumer Miriam Smith, who dressed the cast in stylish period long dresses and tuxedoes, befitting royalty. Only long cigarette holders are missing.

The story: King Lear decides to retire. He divides his kingdom among his three adult daughters. Goneril and Regan are married. Cordelia is courted by the King of France and the Duke of Burgundy.

He asks the daughters to tell him how much they love him, first. The eldest two flatter him, Goneril (Carolyn Travis, enjoying being evil), saying “more than words can wield ... / Dearer than eyesight, space and liberty.”

Cordelia (Andreya Pro, milder than she might have been), appalled by their hypocrisy, to her father’s query responds, “Nothing. ... Why have my sisters husbands, if they say / They love you all?”

For her honesty, Lear disowns her.

Burgundy abandons his suit. France takes Cordelia for his bride. Lear prepares to rotate monthly stays at each daughter’s. He exits. The scene ends with the eldest two shaking hands, Goneril saying, “We must do something,” plotting against their father.

They do. Goneril kicks him out. Regan (Glynna Goff, looking as well as acting the part) does the same, for he has come early to her. She messes with his mind, telling him to return to Goneril’s.

Poor Lear. Old and proud, his judgement was clouded by his ego. The story of his magnanimity collapses against the reality of his plotting older daughters. That takes hold, aging as well as angering him.

Real confusion sets in with Lear.

He had asked his Fool (Duncan Ring, a clown and also wise), “Who is it that can tell me who I am? “Lear’s shadow” was the response.

Lear asked, “Dost thou call me fool, boy?” “All thy other titles thou has given away” is the reply.

Edgar (a muscular, energetic James Faley) is the other smart, crazy person. The play’s subplot has his scheming bastard-brother Edmund fooling their father, Gloucester (Jeannine Early, here the mother) that Edgar has plotted against her. Edgar runs into the forest, disguising himself as “Old Tom.”

Betrayal and sorrow drive Lear nuts, made worse by Regan thrusting him out into a storm. He philosophies rather than taking shelter, adding to his madness.

Now the blood starts to flow: For her loyalty to Lear, Regan puts out Gloucester’s eyes. The sisters scheme against each other: more deaths. France cannot save Lear: more deaths. In the end, as in many of Shakespeare’s tragedies, the royal line is decimated, just like in his contemporary England.

Leon Charbonneau is a mild-mannered Lear. Tall, with gray hair and beard, he looks the part, though his costume is a smoking jacket. His raging is more shower than storm.

There are a lot of good performance delivering many fine lines. See this play.

The cast of 19, too many to name, put their hearts into the production, acting on a stage whose only prop is a huge dining table and matching chairs.

This is Shakespeare NW’s 16th season, again at Black Rock Amphitheatre at the Rexville Grange,

“Lear” is playing in repertoire with “Titus Andronicus” and the locally scripted “The Grimm Shakespearean Tales of Uncle Dicky.” The season ends August 18.

For schedule and ticket information: shakesnw.org, (206) 317-3023.