'King Lear' to this day still compels and moves me and Shakespeare's text is poetic and haunting with many emotions. It is not one of my favourites of Shakespeare's plays, having more of a fondness of studying some of the others (such as 'Macbeth' and 'A Midsummer Night's Dream') in school and it is not always easy getting behind Lear straight away (took time for me when studying it), those being introduced to the play may be put off by him in the first act.
Of a very interesting if inconsistent series, named BBC Television Shakespeare, to me its 1982 production of 'King Lear' is one of the better ones. It is also a more than worthy production of the play, and as good as the other versions seen of 'King Lear'. Those being the 1983 Laurence Olivier film and the 2008 Ian McKellen version, both excellent in my opinion despite the needlessly melodramatic music in the former and the lack of authenticity in the sets in the latter. It is hard to choose which is the better one between the three, to me they are on the same level in their own way.
There is very little to fault this 'King Lear', though for my tastes Julian Curry and John Bird were a little dull in their roles. Then again there are far meatier characters in the play anyway.
Elsewhere there is so much to like here. There is much more of a sense of time and place than in the McKellen version. It is dark and austere, which felt appropriate actually, and also sparse, yet not in an unattractive way. The camera work gave off an intimacy without being claustrophobic or self-indulgent.
Jonathan Miller's staging (of his contributions to the BBC Television Shakespeare series, 'King Lear', which was his last, is one of the best ones) never felt too busy or static, it is always tasteful and the intensity and poignancy is captured well, though the near-uniformly great cast are also to thank for that. Gloucester's fall is especially powerful, as is Lear's recognition scene.
Michael Hordern is an authoritative and moving Lear, and his Lear was one where genuine sympathy was felt for him. Being more familiar with the play too, found myself thankfully less put off by him in Act 1 while understanding why some, especially newcomers, would. Brenda Blethyn's dignified Cordelia contrasts beautifully with Gillian Barge's venomous Goneril. Great to see a different side to Penelope Wilton and she blisters in her interaction with Barge. John Shrapnel is a loyal and tender Kent and Norman Rodway is a powerful Gloucester.
It is not easy making the Fool interesting, funny or easy to feel sympathy for, in my mind Frank Middlemass gives it a good go and didn't annoy or bore. Michael Kitchen's Edmund really gets under the skin and Anton Lesser gives his all to Edgar, at times he overeggs it but it was a generally entertaining and deeply felt performance.
Summarising, great production and one of the better productions of the series. 9/10
