King Lear
Sheffield Crucible, 4th September 2026
When Shakespeare’s most renowned plays are revived on stage, it is all too easy to enter the theatre with a predetermined idea of what the next three hours will have in store. Creating theatre that will remain in the hearts and minds of theatregoers is a tall order when dealing with stories and words that are so familiar to many, yet Sheffield Crucible’s emotionally charged production of King Lear achieves just that.
A formerly mighty but aging King (played by Ian McDiarmid) has planned to divide his kingdom equally between his three daughters Goneril (Katie Wimpenny), Regan (Justina Kehinde) and Cordelia (Bebe Sanders). To claim their inheritance, each daughter must profess words of fatherly love and devotion, which Goneril and Regan have scripted to perfection. When Lear’s favourite daughter Cordelia speaks however, her refusal to heave her heart into her mouth displeases her father so much that she is disinherited and cast out. Lear’s trusted advisor Kent (Mark Holgate) attempts to make the King see the error of his ways, but his protestations are met with banishment. Lear’s folly and pride thereby predestine his inevitable downfall.
Meanwhile Gloucester (David Birrell) is enraged by a letter handed to him by his bastard son Edmund (Fode Simbo), apparently evidencing a plot by his legitimate son and heir Edgar (Harry Redding) to kill his father. At Edmund’s insistence, Edgar flees in fear for his life and takes on the guise of a madman.
United in their refusal to meet their father’s demands, Wimpenny and Kehinde as Goneril and Regan serve up a delightfully wicked blend of greed, envy and cruelty that is ultimately turned on each other. Whilst Regan and hot-headed husband Cornwall (Jay Saighal) are a worthy match, Goneril is disgusted at the innate goodness of her spouse Albany (Milo Twomey). Whilst Cornwall’s path of evil gives Saighal less to work with, Twomey transforms Albany from meek spouse to noble leader compellingly.
Birrell and Holgate as Gloucester and Kent demonstrate exquisite command of Shakespeare’s language and their unfailing loyalty to their King is beautifully captured. As Lear’s Fool, Max Revell’s exceptional physicality punctuates the mood with tremendous skill as he switches effortlessly from grotesque hilarity to charged stillness. His relationship with McDiarmid’s Lear is tender and the observation of his master’s descent into madness heart wrenching.
Simbo’s performance lacks some of Edmund’s villainous determination, and his command of Shakespeare’s language does not always match the assured delivery of the more seasoned cast members. Redding’s portrayal of Edgar as Old Tom is committed and compelling whilst Regan’s servant Oswald (James Chetwood) is played with delightful disrespect and self-interest.
McDiarmid’s Lear is a phenomenal accomplishment that you feel privileged to be witnessing. Being ‘fourscore and upward’ himself, McDiarmid brings a frailty and vulnerability to Lear that is devastatingly beautiful. Here is a man from whom we catch glimpses of a formidable former self, yet whose rage is now contained by the limitations of a weakened body and mind. McDiarmid makes every syllable count and brings freshness and authenticity to even the most familiar verses.
Set in a non-descript time, period and modern costumes define the characters well against a bleak, multifunctional set, all designed by Richard Kent. A large pit reminiscent of a gladiatorial arena provides a central focus whilst the crunch of dirt beneath the actors’ feet adds to the sense of grittiness and savagery as the characters descend into chaos and war.
Directed by Titas Halder, King Lear continues at Crucible until 19th September.
