Kenneth Branagh and Eleanor de Rohan in King Lear [Johan Persson]

KENNETH Branagh’s two-hour production of King Lear proceeds at lightning speed (without an interval). Set in ancient Britain, Jon Bausor’s standing stones form an impressive backdrop, while Nina Dunn’s projections evoke an endless night sky.

When Lear decides to divide his kingdom, his daughters Goneril (Deborah Alli) and Regan (Melanie-Joyce Bermudez) indulge his vanity. His youngest, Cordelia (Jessica Revell), refuses to flatter him and Lear banishes her.

After his eldest daughters snub Lear and his retinue, he disappears in a storm with his fool (Revell), while his supporters are forced into hiding. Meanwhile, Cordelia is amassing an army.

The men wear animal pelts and carry sharpened staves as weapons. This Lear is big on spectacle – Bret Yount’s fight scenes are thrilling to watch – but needs more light and shade.

Presented in association with Rada, many of the supporting cast are drama graduates – some making their professional stage debuts. Following Branagh’s lead there is a tendency towardsguardian guardian over emphasis

]guar over emphasisand Shakespeare’s words aren’t always allowed space to work their magic.

Branagh is a surprisingly hearty Lear, but his glossy hair and bushy beard work against him in later scenes.

What we gain in time we lose in subtlety and depth.

Until December 9
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