MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
King Lear
Duke of York’s Theatre
London WC 2
★★★★
HOWEVER many times I see King Lear, my first instinct is always to marvel yet again at the wild and fearless excesses of the original play.
It takes us right to the sharp end of human life where power crumbles to nothing, where the blind lead the blind, where folly rules and where the Fool — a creature of oblique instincts, waywardness and caprice — stumbles on essential truths that seem somehow off limits to the reasoned mind.
It’s a powerhouse of imagination and an unparalleled penetration of the human condition in a godless and structure-less world.
MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
MARY CONWAY is spellbound by superb performances in Arthur Miller’s study of the social and personal stress brought about by Nazi Germany’s Kristallnacht
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY


