King Lear

May 5th - October 10th Festival Theatre Ticket Info
Generally Positive Reviews based on 12 Critics
This is a listing for the 2014 season. For this years shows click here.
12 Reviews

It will mark you, most profoundly

Aparna Halpé Plays To See

“With great theatrical works, it is difficult to evoke a sense of the new, of the undiscovered, and yet that is precisely what happens when, exposed to the raging storm, and surrounded by the mad and destitute, Lear lifts his face into a brief flash of light and exclaims, “I have ta’en/ Too little care of this.”

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Deeply Compassionate

Chris Jones The Chicago Tribune

“it’s the early picture, painted by all in this production, of Goneril and Regan as potential caregivers, women who might yet do the right thing by their suffering dad, alongside Cordelia, that makes this “Lear” so moving and, despite its unfussy Elizabethan setting, so present.”

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Lear all technique but little heart

Lynn Slotkin The Slotkin Letter

“Feore has consummate technique, a commanding stage presence, a dextrous facility with the language…It’s all show, bombast and grimacing. This works if you believe that the whole thing is just so much playacting, that that is how Lear has conducted his life….But what do we make of the scenes on the heath, when he loses his mind, gains wisdom and is supposed to have a sense of humility and humanity? Again, I think it’s all technique with no heart.”

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A harrowing King Lear

Jamie Portman Capital Critics circle

“Cimolino also brings into deeper focus one of its most unsettling themes: the inhabitants of this little world have indeed become playthings of the deity. Or as Scott Wentworth’s blinded Gloucester puts it: “As to wanton boys are we to the gods; they kill us for their sport.”

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Wentworth sounds the genuine tragic note

Robert Cushman National Post

“…the real depths are plumbed here not by Lear but by his parallel deluded sufferer Gloucester. Scott Wentworth, playing the role for the second time, strikes a new note at the beginning, describing the “good sport” at the begetting of his bastard son with unusual relish.”

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Feore studied his 85-year-old father

Chet Greason Stratford Gazette

“as much a play about adults acting like children as it is about growing old. The offspring talk to their parent in the same tones they may use to address their own small children. The parents react to the inherent lack of respect ingrained in this role reversal; they lash out, become “difficult,”

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Cimolino’s superb Lear

Robyn Godfrey The Bard and the Boards

“The family dynamic set up by Mr. Cimolino is one of long-suppressed dysfunction that finally and viciously explodes into a stunned audience.”

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Stratford & Shakespeare at their finest.

Robert Reid The Record

Feore’s Lear is a dragon who, while declawed and humiliated, continues to rage against the dying of the light, even as the dark curtain of madness descends in a storm on the heath that evokes all the fury of post-Katrina nature at its most vengeful.

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Intimate moments best

J. Kelly Nestruck The Globe and Mail

“fine performances [but] with its bulky Jacobean costumes, this down-to-earth production can look and feel a mite musty and Shakespeare-y;”

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The vulnerability of old age affects us all

Laura Cudworth The Beacon Herald

“The play is sewn together by solid acting, but the strongest moments – the ones that silence the theatre – are the quietest…Ouimette always brings an effortlessness to his performances. The Fool’s underlying melancholy tugs at the heart.”

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Reviews Breakdown

10 0 2

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