Feeling vs Unfeeling in King Lear

Alistair Newton’s production of King Lear starring Diane D’Aquila begins with two black doors swinging open as her throne moves downstage where she is joined by The Fool. She sits there looking small and groggy. The Fool opens the doors of a music box, resembling the ones onstage, to reveal a miniature of Queen Elizabeth I. As the music continues to play, the stage is bombarded with people to assist Lear getting dressed. Lear hangs there like a rag doll wearing a white nightdress while she is strapped into a corset and an overwhelmingly large black dress reminiscent of the mini Elizabeth. The idea of being trapped in a box or manipulated by others is quite clear.

Amelia Sargisson & Diane D'Aquila - Lear
Amelia Sargisson (Cordelia) and Diane D’Aquila (Lear)

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A Hamlet for Everyone

The reason I started this blog was to archive productions of Shakespeare that made me think or inspired exciting thoughts, so when I saw Why Not Theatre’s Prince Hamlet, I knew that I needed to write about it. I have seen four productions of Hamlet in my life so far and many other productions of Shakespeare, but this was by far the best Canadian production of a Shakespeare show I have been seen. The reason that I study theatre and, specifically adapted Shakespeare performances such as this one, is because of the power I believe it has to not only show respect to the original material but to create a more inclusive and diverse theatrical experience. This show did that and it took risks and it is exactly the type of theatre that makes my heart sing. I applaud director Ravi Jain for being such a risk-taker because it was such a breath of fresh air.

Prince Hamlet
Christine Horne as Hamlet. Photo by Bronwen Sharp.

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