Get our daily newsletterFor a director whose work tends to mine the drama of subtext—the subtle gaps between what people say and what they mean; the awkward silences that yawn between utterances—Shakespeare seems an abrupt change of pace. This, of course, is the point. “I’ve been really hungry for these much more muscular pieces of writing, which isn’t the mode people write in right now,” he observes.
Mr Gold’s vision for Lear certainly heightens opportunities for catharsis. In this production, the thin-skinned and raving king—who confuses flattery for fidelity, obsequiousness for respect—presides over an almost garishly golden court. His sycophantic daughters are decked with nouveau-riche bling. Perhaps the only thing missing is a Twitter account. Mr Gold thinks that it is satisfying to see “a mad autocrat run naked through a storm screaming at the gods.” But his intentions are more serious.
The show has received mixed reviews for its uneven performances and a few questionable decisions. An original score by Philip Glass, for example, deserves its own concert; here it awkwardly competes with the music of the play’s language. Yet Ms Jackson is riveting. Mr Gold is thoughtful about having a woman in the title role. He notes that the play is filled with the language of male entitlement, “but when a man says it, you don’t even think about it, you’re just so used to it.
Theatre producers regularly complain about dwindling audiences, particularly now that so much entertainment is on demand at home. The running time of new plays has been shrinking, and rising playwrights are regularly poached for television. It is heartening, then, that there is still room on Broadway for a challenging play that lasts over three hours and ends with catastrophe. Mr Gold is not surprised. “Poetry is essential to the way we process humanity and culture,” he says.
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