King Lear – Northern Broadsides – Liverpool Playhouse 01/05/2015

Jonathan Miller finds an introspective and understated Lear in Barrie Rutter.

Both Northern Broadsides and their Artistic Director Barrie Rutter have played against type to great effect in this new touring production. Broadsides often fill their stage with a riot of detailed sets and movement but for their new Lear, designer Isabella Bywater has pared everything back to a square raised acting area on an empty black stage, throwing the performers into sharp relief.

Not only does this have the effect of deepening the darkness of what must be one of Shakespeare’s most doom-laden tragedies, but it also heightens the senses of the audience to the action.

Here is a very strong cast. Helen Sheals and Nicola Sanderson’s Goneril and Regan have their scheming thinly veiled, while Catherine Kinsella’s Cordelia finds a balance that leaves us unsure how far we can trust her. Al Bollands has side-stepped into the role of Edmund part way through the tour but his command of the Machiavellian bastard son is truly disturbing. Jack Wilkinson is a sympathetic Edgar, and his loinclothed, mud-daubed transformation to Poor Tom is delicately done. Andrew Vincent and John Branwell are also well cast as Kent and Gloucester, and Vincent effects his disguise as Caius convincingly.

The true revelation of the production, though, is Barrie Rutter’s Lear. Not noted for underplaying roles (remember Rutherford and Son, also under Miller’s direction) here he is astonishing in his restraint. There is all the necessary bluster in the early scenes, but as Lear descends into madness, Rutter appears to shrink back within himself and the effect is both painful and deeply moving. The storm scene too, whilst suitably terrifying, is staged for drama rather than, as is often the case, for histrionic effect, and the blinding of Gloucester is discreetly dealt with in a shroud of mist.

Both Fine Time Fontayne’s shabby Pierrot of a Fool and Jos Vantyler’s scheming, foppish Oswald manage to get the laughs whilst never losing the darkness of their characters.

There are good supporting performances from the remaining cast, notably Ben Burman who has stepped in to play France, a Knight and a Soldier, parts previously occupied by Al Bollands before his mid-tour role change.

Northern Broadsides can always be relied upon to fill houses, but they also have the capacity to surprise, and this production stands out as a prime example of their versatility as a company.

King Lear continues its tour via The Lowry Salford, York University, Rose Theatre Kingston and Newcastle New Vic until 13th June.

Barrie Rutter as King Lear - Photo (c) Nobby Clark

An August Bank Holiday Lark – Northern Broadsides at LiverpoolPlayhouse – 29/04/2014

Barrie Rutter’s company live up to their name by firing a Broadside of Northernness from the stage in Deborah McAndrew’s new play, specially commissioned to coincide with this year’s WW1 centenary commemorations.

In building a tale that speaks of the loss of youth and innocence, McAndrew chooses to show us a slice of life in more idyllic times, as a rural community prepare for their annual village festival before seeing their sons off to the front.

The rush bearing ceremonies, that in times past took place in the August Wakes Weeks, bring the community together in the balmy summer air with the mounting celebrations, preparation of costumes and the building of the rushcart. This year, however, the atmosphere is also tainted with the smell of war as young men from the village are called up.

Whereas in Broadsides’ last visiting production the musical interludes seemed incongruous, here they grow organically out of the story. There is a great deal of Morris dancing accompanied by an onstage band and both music and footwork are impressively authentic. Conrad Nelson worked with the Saddleworth Morris Men to get this right.

As we’ve come to expect from Northern Broadsides, stage designs (here by Lis Evans) are inventive and substantial, and complemented by deft, warm lighting from Mark Howland.

Amidst the preparations for the Rushcart Festival we learn that the Squire’s daughter Mary has the affection of Frank Armitage, but her father doesn’t see him as a fit match. In an effort to show himself worthy of her hand, Frank resolves to join up in the forces along with Mary’s two brothers Edward and William. They’re barely married before Frank has to go back to the barracks.

By the closing pages we have seen the ravages with which war punishes those who are left behind, as they wait to discover whether what will come home is a loved one or a telegram. The story’s destination has a big emotional payoff, while the drama takes the scenic route in getting there. It is the pastoral slowness of the earlier parts of the play that make the ending all the more poignant.

The cast all give spirited performances but most notable among them are charming central roles by Darren Kuppan and Emily Butterfield as Frank and Mary and by Jack Quarton and Ben Burman as Edward and William.

Broadsides founder and Artistic Director Barrie Rutter is a true old school actor-manager and whenever he takes to the boards he is always a commanding figure. Here, both directing and playing the part of the overbearing Squire John Farrar, he is larger than life and a force to be reckoned with.

An August Bank Holiday Lark has been co-produced by Northern Broadsides and The New Vic Newcastle-under-Lyme, where it received its premiere in February. It runs at Liverpool Playhouse until Saturday 3rd May, after which it continues touring via Watford Palace, Oxford Playhouse, Derby Theatre, Cheltenham Everyman, Rose Theatre Kingston and to Oldham Coliseum where it closes on 14th June. The full tour schedule is available at www.northern-broadsides.co.uk