Celebrating 5 Years
Positive Reviews

King Lear

Festival Theatre May 5 to October 10 More Info

It will mark you, most profoundly

5 out of 5 Stars
Positive Review
Plays To See Aparna Halpé

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 …

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Deeply Compassionate

Positive Review
The Chicago Tribune Chris Jones

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

Mixed Review
The Slotkin Letter Lynn Slotkin

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 …

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A harrowing King Lear

Positive Review
Capital Critics circle Jamie Portman

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

Mixed Review
National Post Robert Cushman

…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

Positive Review
Stratford Gazette Chet Greason

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 …

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Cimolino’s superb Lear

Positive Review
The Bard and the Boards Robyn Godfrey

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.

Positive Review
The Record Robert Reid

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

3 out of 4 Stars
Positive Review
The Globe and Mail J. Kelly Nestruck

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

Positive Review
The Beacon Herald Laura Cudworth

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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Lear catapults Colm Feore into the ranks of world’s greatest living actors.

4 out of 4 Stars
Positive Review
Toronto Star Richard Ouzounian

not only a superb pro­duc­tion in its own right, deliv­er­ing every ele­ment this great dark dra­matic poem by Shake­speare has to offer us, but it does two other very impor­tant things: it unques­tion­ably cat­a­pults Colm Feore into the ranks of the world’s great­est liv­ing actors”

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