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The Session explores gender and sexuality, and even features Shakespeare himself (played by Mike Keep). This means that almost 1 in every 9 students sitting their leaving Certificate English exams in June will have seen our production.
Spend an entire gloriously sunny Saturday cooped up in the Rose Theatre in Kingston binge-watching Trevor Nunn’s And then, every so often, you find yourself at a production that’s so balanced, so evocative, so crystalline in its clarity that it rises above the out-of-joint chaos, above the jumbled fragments of memory of the other Shakespeare performances that you’ve seen.Credit for this belongs in equal measure to the 82-year-old Setterfield’s grace, command, and fragility in the title role, to the hauntingly expressive ensemble work that Scott choreographed for her and her supporting cast, and—perhaps above all—to their radical re-invention of Shakespeare’s text and characters, and their jettisoning of almost all of his language in favor of their own, both verbal and kinetic.

Regan maintains her distance from the action and is more of a spectator than an active participant in the violence. Philip Judge succeeded in presenting a Lear who was clearly deeply flawed at the same time as sympathetic. Engaging with this long-standing tradition, Cyclone has re-imagined Shakespeare’s work while staying true to key themes and interpretations. We are committed to performing King Lear within our 2020 season. For example, The Session tackles the theme (central to the play) of nature run amok by setting the play in a post-apocalyptic world caused by climate change. Marcus, who plays both Hamlet and Shylock, is an internationally trained actor whose focus for the last 20 years has been the physical theatrical techniques of Commedia dell’Arte, Mime, Clown, Improvisation, and the work of Jacques Lecoq, Eugenio Barba, and Augusto Boal, and these practices have been incorporated into the Cyclone Rep’s style of performance. It is against such a backdrop that the RSC production of Lear and his daughters  (Image credit: RSC website)With the stage awash with golds and browns, Lear’s downfall is instantly foreshadowed by the overt use of autumnal colours as he makes his magnificent entrance, wrapped in huge furs and hoisted aloof. King Lear was first performed in 1606, a year in which a plague ravaged London, and the play is full of references to pestilence. I said already that I love you as is right fit.
Ongoing feedback from teachers and students helps us to constantly incorporate and expand on aspects of the plays that young people and teachers feel are relevant today. The Director’s note offers the audience one way to interpret such extra-diegetic elements, plot additions and the wider implication of As the centenary year marking William Shakespeare’s death nears its close, audiences around the world continue to delight in the wonders of his work. Silly, stupid Lear. Perched on an armchair that doubles as a throne, Setterfield answers a series of telephone calls, of which we hear only her side of the conversation, in character as an elderly father pleading with his child to come visit. The dog misses you.’ The calls involve a series of increasingly urgent requests for help: the local pharmacist has mixed up the elderly mother’s prescriptions; the boiler has broken and water is pouring down the stairs, leaving the father unable to reach the mother’s medication.These pleas are later cruelly mocked by Goneril and Regan, who grow increasingly resentful of the burden of responding to their elderly father’s requests.