King Lear – Crucible Theatre, Sheffield

Writer: William Shakespeare

Director: Titas Halder

King Lear, one of Shakespeare’s greatest tragedies, is such an icon of the Shakespearean canon that you come to it with certain expectations. Indeed, to quote Ian McDiarmid himself in a previous TV role, you might, “in short . . . have great expectations.” These are only partially rather than wholly met in this workalike production which contains good, solid, earnest performances from all concerned but which only intermittently achieves the heights of long-lasting, memorable greatness.

At the outset one is confronted with the barest of stages. Never has theatre in the (almost) round been more apposite and literal, with the main acting space being basically a circular shallow pit covered in black sand. Indeed, the entire floor is also covered in the same material. In the second half some variety is achieved with the liberal use of dry ice at the back from which most of the characters emerge and exit, ghost-like out of the mist to portend a creepy and foreboding atmosphere. Costumes are a blend of medieval and modern with props kept down to a bare minimum, basically consisting of an assortment of daggers and Lear’s map of the kingdom.

This is a production shorn of fripperies and artifice, relying instead on the power of the language and the presentation of the human condition in all its flaws and foibles to achieve its effect. Ian McDiarmid brings all his experience and reputation as a world-renowned stage and screen actor to what is generally regarded as Shakespeare’s greatest role for the older actor. His is a self-delusional, over proud, infirm, somewhat irascible, petty and petulant old man who only realises when it’s too late that he has acted rashly and harmfully. His actions in voluntarily giving away his kingdom to ungrateful daughters (Goneril played by Katie Wimpenny and Regan played by Justina Kehinde) result in betrayal, loss of dignity and eventual madness. And just when Lear is finally reconciled with his only truly loving daughter, Cordelia (played by Bebe Sanders), she is mercilessly executed and Lear dies of a broken heart. One of Lear’s final lines when he describes his actions towards Cordelia’s murderer (“I killed the slave that was a hanging thee”) brings out all the pathos and tragedy of the situation and is just one of a whole host of touching and memorable lines throughout.

The play explores the themes of madness, human nature and blindness. Gloucester (David Birrell) is literally blinded by the vengeful Cornwall (Jay Saighal) and Regan whilst Lear is symbolically blind to the truth. Lear goes actually mad (or is he suffering from a form of dementia or schizophrenia?) whilst Edgar (Harry Redding) feigns madness as “poor Tom” in order to escape recognition and aid his blinded father. The whole gamut of the human condition, from greed, insecurity, jealousy, lies, vengeance, ambition, authority to loyalty, love, honesty, sacrifice, forgiveness and truth are on display in all their various shades and guises.

Credit must go to Max Revell’s performance as the Fool. His expertise in both breaking and popping are shown to full effect as he demonstrates his incredibly pliant and flexible body in the role. His is the only character to make his first speaking entrance from up in the audience and when he is on stage he is quite mesmerising.

This latest incarnation of one of Shakespeare’s greatest tragedies is worth seeing for its earnest interpretation and emotional depth.

Runs until 19th September 2026