Review and theatre-going tips for King Lear on Broadway

"Men must endure their going hence, even as their coming hither: Ripeness is all." 

- Edgar, King Lear

Glenda Jackson as King Lear

What did Erin think?

If you're a fan of King Lear, Shakespeare, or Glenda Jackson, you owe it to yourself to see King Lear on Broadway. The cast is exceptional: a group of Shakespearean pros who speak the language of the Bard as if it were their mother tongue. The set design is inspired: a regal state room that gradually devolves into chaos. And, of course, Glenda Jackson is phenomenal. Over the course of three hours, she subsumes the King with such ease and power that the two become one, and Lear is brought, vividly and almost startingly, to life. Without getting into gender politics, I don't think I've ever been as moved by a man's performance in the role as I was by Glenda Jackson's final monologue over Cordelia's corpse.

Ruth Wilson, jointly playing Cordelia and the Fool, also gives a fantastic performance. She's otherworldly as Cordelia: her every word and every action exhibiting the character's inherent love and nobleness. As the Fool, she is equally delightful--switching from paralyzing depression to boyish exuberance with a telling desperation. Her Fool comes off as trying too hard to out-jest the sorrows of himself and his master--and perhaps attempting to work himself into a crazed frenzy, as if he could go mad by trying hard enough and thereby forget the harshness of the world around him.

Notable performances also come from Pedro Pascal as a slick Edmund, Elizabeth Marvel as a monstrous Goneril, and John Douglas Thompson as the steadfast, courageous Kent. That being said, just about every member of this standout cast gives a masterful performance: it would simply take too long to call each of them out by name.

A shiny gold box, reminiscent of tinfoil, surrounds the stage, making the action feel contained and slightly claustrophobic. During the storm, a metal sheet comes down in front of the stage, shutting the characters off from the shelter to be found inside, conveying a sense of exposure and helplessness before the elements.

An onstage quartet of musicians provides background music at certain moments in the show, and while the music (composed by Philip Glass) is gorgeous, I'm still undecided as to how I feel about it in the context of the production. At times, it added to the mood, but at other times, I found it distracting.

But despite any faults in this production, it's still an unmissable King Lear. Glenda Jackson gives a landmark performance in Shakespeare's greatest tragedy--to say nothing of the other actors' performances. It's a chance to revel in Shakespeare's poetry, ponder the world's injustices, and get swept up in the action--all while marveling at Glenda Jackson's uncanny acting abilities.

How can I get cheap tickets?

I bought my ticket for $53 at the TKTS booth. I've seen the show listed on there literally every day since it's opened. You can also get higher priced tickets (up to $88) at the booth. $40 rush tickets are also available.

Where should I sit?

I sat in the fourth row of the mezzanine, and while I generally like sitting in the orchestra when possible, this seat was great. The Cort theatre isn't that big, so even the mezzanine feels intimate, and you have a great view of the whole stage. 

How long is it?

3 and a half hours, including a 20-minute intermission.

What else do I need to know?

Arrive early. If you're thinking that Broadway shows always start 5 or 10 minutes late, you're generally right. But not this one. It starts promptly on the dot at the scheduled time. It's also worth arriving early to use the restroom--because the intermission is 2 hours in. Need I say more?

Is it appropriate?

Violence. This is a Shakespearean tragedy. It will have blood. People get shot, but it's not gory or gruesome. Not, that is, until the memorable scene where Gloucester gets his eyes gouged out. There were literal gasps from the audience.

Sex. There's a brief scene where Edmund and Goneril get it on. The good news is it's brief and there's no nudity. But probably don't take the kids. Then again, if you're taking your kids to see King Lear we need to talk.

Language. There's some talk about female dogs. That's about it, unless you're counting "Thou whoreson zed, thou unnecessary letter!"

Where's the stagedoor and who comes out?

The stagedoor is immediately to the left of the theatre marquee, which also means it's just to your left as you exit the theatre: a set of double doors currently advertising Wicked and Dear Evan Hansen. There was a security guard and barricades, so it's pretty hard to miss. Most of the cast came out and signed/took pictures, including Ruth Wilson, Jane Houdyshell, Pedro Pascal, and yes--even Glenda Jackson.

"I'm guessing Glenda Jackson doesn't come out?" said one person to the security guard.

"She comes out. Every night," he replied.

The cast members are all incredibly friendly and willing to sign, take pictures, or just talk to you. Ruth Wilson talked at length about the connection between Cordelia and the Fool when one girl asked her about it. A few of the actors weren't signing but were still very gracious as they walked by.

Glenda Jackson will sign, take a picture with you, and even talk to you because that's just how she rolls. 

"You were amazing," I told her.

"Thank you," she said. "It's an amazing play, isn't it?"

Your obedient servant,

EJK