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King Lear

May 5th - October 10thFestival TheatreTicket Info
Generally Positive Reviews based on 12 Critics
12 Reviews

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This is a listing for the 2014 season. For the current 2019 shows click here.

Plays To See - Aparna Halpé

It will mark you, most profoundly

“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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The Chicago Tribune - Chris Jones

Deeply Compassionate

“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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The Slotkin Letter - Lynn Slotkin

Lear all technique but little heart

“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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Capital Critics circle - Jamie Portman

A harrowing King Lear

“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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National Post - Robert Cushman

Wentworth sounds the genuine tragic note

“…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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Stratford Gazette - Chet Greason

Feore studied his 85-year-old father

“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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The Record - Robert Reid

Stratford & Shakespeare at their finest.

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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Donald's Dish - Geoff Dale

Kicks off the 2014 Stratford...

“Cimolino knows exactly what the task at hand is and how to succeed with an almost minimalistic approach, largely avoiding distractions – sound, set or otherwise”

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The Beacon Herald - Laura Cudworth

The vulnerability of old age affects...

“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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Toronto Star - Richard Ouzounian

Lear catapults Colm Feore into the...

“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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