jim Catapano and the Shakespeare mountain

A Powerhouse King Lear Graces the American Theater of Actors

Under the excellent direction of James Jennings, King Lear is reborn for the modern stage in a gripping production at the ATA. 

Proceedings begin innocuously enough when the aging Lear (Alan Hasnas) decides to divide his kingdom among his three daughters. An unfortunate moment of overwhelmed speechlessness from one of them leads to disaster. From there the intensity builds and builds throughout the 3-plus hour story. It’s a tale of the human price of greed, an unfolding domino effect that leads to heartbreaking tragedy for all involved. 

Jennings has assembled a formidable roster of seasoned actors to breathe exciting new life into the classic Shakespearean drama. Alan Hasnas delivers a masterclass as the doomed Lear; his descent into madness is horrifying, but from a theatrical standpoint, also exhilarating. Jake Minter is an intense and magnetic Edmund, while Quinn Nguyen provides elegance and poignancy to the tragic Cordelia. Amber Brookes, sipping from a fancy goblet and resplendent in sparkly gowns of gold and later silky green, is delightfully serpentlike as Regan. Shakespearean stalwart Jane Culley matches her duplicity as the icy Goneril; her command of the material is majestic. Jake Smith is energetic and suitably mood-lifting as the Fool, cartwheeling across the stage and breaking into song at every opportunity. Travis Bergmann is a stoic, steady presence as the Earl of Kent. Phil Oeitiker is astonishing as the Earl of Gloucester, the subject of a violent but well-staged blinding at the hands of people of true darkness. And Sam Hardy is a revelation as the feral Edgar, dominating the stage and delivering every syllable with skill and relish. The cast as a whole is a joy to spend time with even as they depict a kingdom descending into darkness. 

The John Cullum Stage at the ATA is a perfect complement to proceedings, the large dark space of multilevels and staircases well utilized throughout the production. A backdrop of moving projections adds tremendous atmosphere—the brutal lightning storm that the quickly deteriorating Lear loses himself in; the crackling fireplace in the hovel; a symbolic eclipse as Gloucester is tortured. The fight sequences, all clanking swords and daggers, are intense and beautifully realized. It all makes for a memorable experience of thespians at the top of their game, expertly handling the most difficult and legendary of texts. 

King Lear runs at the ATA through August 25, 2024.