Glenda Jackson, just coming off her run in Three Tall Women on Broadway, has already set the date of her return.
Jackson will appear as the title character in King Lear in the play's Broadway run next year.
Jackson is no stranger to this role, playing it previously in 2016 at London's Old Vic. The Broadway production will be entirely different, with new staging.
Would that Gold's production had showed a similar resolve. But he seems to be one of these young Turks who comes to a classic text with ideas - so, so many ideas. And the result is a cluttered mess of a revival that too often threatens to overpower the poetry of the Bard's text and the strengths of some of the production's performances, Jackson's in particular.
Thrilling, cluttered, inventive and exhausting, Sam Gold's King Lear, which stars an impish and imperious Glenda Jackson, throws a stack of director's theater clichés at its marble walls. Some of them stick. Running three and a half hours (padding out the folio with bits of the quarto, like the mock trial scene), the production brings avant-garde techniques to Broadway with variable success. Some of the performances are exhilarating - Jackson, of course, Ruth Wilson, Elizabeth Marvel, Matt Maher in his Broadway debut - some aren't and the storytelling dazzles, then rambles.
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Public Theater Production Off-Broadway |
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Off-Broadway Production Off-Broadway |
Year | Ceremony | Category | Nominee |
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2019 | Drama Desk Awards | Outstanding Featured Actress in a Play | Ruth Wilson |
2019 | Drama League Awards | Distinguished Performance Award | Ruth Wilson |
2019 | Drama League Awards | Outstanding Revival of a Broadway or Off-Broadway Play | King Lear |
2019 | Outer Critics Circle Awards | Outstanding Actress in a Play | Glenda Jackson |
2019 | Tony Awards | Best Performance by an Actress in a Featured Role in a Play | Ruth Wilson |
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