RITA DI SANTO assesses the winners of the most politically charged festival to date
Kunene and the King
Swan Theatre, Stratford-upon-Avon
VETERAN white South African actor Jack Morris (Anthony Sher) is due to crown his career by playing King Lear. Diagnosed with terminal liver cancer, from the moment his medical carer Lunga Kunene (John Kani) turns up, their respective attempts to find a working relationship are beset by their country’s shared history.
In Kani’s two-hander, their progress towards recognising one another as individuals and not as products of their corrupted past is infused with humour and mediated through confronting cultures, languages and, fascinatingly, as the stricken Jack struggles to learn Lear’s lines, Shakespeare.
Just as Shakespeare’s character has to learn to see his world through unclouded vision and find a shared humanity, so Jack edges towards a freedom born of mutual respect. Similarly, Kunene has to assert his professional pride and racial self-respect to cope with an awkward patient wallowing in sardonic disgust at his situation.
Family issues and dragon-fuelled history amount to a vacuous spectacle that ill-fits the theatre, muses SIMON PARSONS
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship


