“Sometimes, Gross’s joking/not joking take on the character reaches a tipping point where it can almost seem like he is performing/not performing – keeping one foot outside of his characterization, perhaps protectively.

But this is a place where that little bit of distance between Gross and his Lear opens up a space for the audience to feel instead of be shown feeling.

I keep being tempted to write that Gross is, for all the originality, a light-weight Lear. But then I keep hitting the backspace key because I’ve never actually been as moved by the imprudent patriarch’s self-inflicted journey to the depths of despair before.”

“[Gross] and director Kimberley Rampersad have the guts and vision to let this Lear be genuinely unlikeable at the start: an aging leader so accustomed to power and influence that he all but throws away the command to his daughters to convince him which one of them loves him most….

Michael Blake, familiar to Stratford audiences for a galvanizing performance as Othello in 2019, is mesmerizing as the bastard Edmund, ..

André Sills offers one of his most focused performances in years as an initially lighthearted Edgar who descends into convincing madness and despair after his brother Edmund’s betrayal.”

“The entire company is strong. Michael Blake’s performance as Edmund will be remembered for years to come…

As Edmund’s ‘legitimate’ brother Edgar, who disguises himself as ‘Poor Tom,’ André Sills is excellent. He brings humour, passion, and an element of unpredictability to his scenes with Blake, Gross, and Anthony Santiago – who plays the Earl of Gloucester.”

“Though hard to believe in such a dramatic tragedy, there are even moments of humour in which Lear takes centre stage, most noticeably when trading barbs with his cheeky court Fool, played brilliantly by Gordon Patrick White…

Gordon Patrick White is absolute perfection as the Fool – loyal and honest even when conversing with his monarch, a luxury afforded to no one else in the kingdom including the royal family and closest of friends.

He is ironic, sarcastic, hilarious and can even ease into his touches of truth when kibitzing with Lear. White is top of the class as he makes the very best of what is clearly the juiciest role in so many of the Bard’s greatest works.”

“While Lear is often portrayed as physically frail, Gross’s depiction of the aged king eschews that kind of debility and focuses instead on his moral frailty…

There are a lot of bold character choices made in this production and, anchored by Gross’s riveting performance, they are choices that pay off. Rampersad stays focused on the complicated relationships at the crux of the play, exploring the tension between generations and the jealousy between siblings.”

“Rampersad has found some humour and laughter in her vision which I hadn’t noticed before. That’s positive as humour in a tragedy allows the audience to breathe a bit before the next emotional wallop.

At times, that laughter can diminish the intended emotional impact. An example of this occurs during a poignant scene where Gloucester and Lear share a conversation in a hovel and the former requests to kiss the latter’s hand. However, Gross’s response of suggesting to wipe his hand first undermines the emotional weight of the moment.”