Review: Queen Lear, The Lightship Theatre

Queen Lear tells the story of a formerly mighty monarch who divides her kingdom between her two eldest sons, and who is then driven mad when the sons spurn her. It is primarily the tragedy of a fearsome, forceful woman’s decline into frailty and confusion.

Any production is therefore reliant upon the ability of the lead actor to chart this decline from power to infirmity.

Phoebe Mulcahy’s performance as the titular queen in this production from The Scullions, though strong in places, lacks this essential journey.

Her Lear starts as a somewhat benign leader, more of an equal to those around her than a prestigious ruler. One does not get the sense that this is a formerly great ruler, commanding an ingrained authority over those around her.

It’s a fundamental miscalculation which means that when her decline begins, the depth of tragedy, and the pain of seeing a great being succumb to old age, is impossible to hit.

Yet there is much to praise in this performance. Mulcahy possesses a talent for playing raw emotion, and (that most envied skill) the ability to cry real tears on stage.

There are moments that expose the inner turmoil Lear is experiencing: at one point, she claws her head with her fists as though trying to remove the strain of her internal conflict by force. When her raging at her sons in one scene suddenly gives way to a hopeless frailty, one gets the sense of a former despot realising that she no longer holds all the cards.

Photo: Tyler Perkins

Yet there are other times when it feels like Lear’s madness is portrayed with a lightheartedness that undermines what the queen is going through. Swathed in flowers on the moors, she is more like a spirited maypole dancer than an unwell, abandoned woman.

In this very mixed performance, Lear’s decline is less of a fall than a downhill wander.

Surrounding – and towering over – the queen are her two eldest sons Goneril and Regan, played by Corey Rumble and Harry Freeman. Catching each other’s eyes, communicating through the deep connection of brotherhood, they work together to rob their mother of her security.

It’s a compelling relationship to watch: the brutish, gregarious Goneril, a drink often in hand, and the slight, slimy Regan. They are two very different men, both edged with a degree of danger.

Freeman especially puts in a good performance as middle son Regan. Upright, watchful, cold, and raising an eyebrow at every opportunity, he is like a coiled snake waiting to pounce.

The most sophisticated performance in this production is put in by Meg Pickup as Edrene, the illegitimate daughter of the Countess of Gloucester. As one of the piece’s villains, seeking to cast out her legitimate sister Edwin, Pickup is full of seductful, playful energy. Her Edrene relishes in her role as master manipulator, switching on a sixpence from sore-abused sister in the presence of her mother to delighted plotter when alone. Her performance is alive with scintillating wit and style. She makes the audience laugh frequently.

Photo: Tyler Perkins

Also funny is Lear’s Fool (Billie-Jo Rainbird) who thoroughly mines the opportunities for comedy. She is expressive and energetic, but her persistent good humour sometimes undermines the play’s darker scenes.

Hannah Clift is highly watchable as Gloucester’s legitimate daughter Edwin, especially as the so-called ‘mad Tom’.

Gillian Roberts as her mother puts in a solid performance, but there are moments where she lacks the pain and fear required of the scene. One of the play’s most awful moments not only falls flat due to this, but actually raises a laugh.

Praise should be given to the clarity of the verse speaking in this production, which was done well by all cast members. However, some of the actors would do well to remember that in such a small performance venue, there is no need to project emotion so much. More subtlety would suit this studio production well.

Queen Lear is at The Mission Theatre, Bath for three performances on January 30-31. Tickets are available from www.bathboxoffice.org.uk.

Main photo: Tyler Perkins

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