The tragedy of King Lear receives an outstanding performance in an all-star cast led by Britain’s senior classical actor, Paul Scofield. He is joined by Alec McCowen as Gloucester, Kenneth Branagh as The Fool, Harriet Walter as Gonerill, Sara Kestelman as Regan and Emilia Fox as Cordelia. This is the 9th recording of Shakespeare plays undertaken by Naxos AudioBooks in conjunction with Cambridge University Press, and is directed by John Tydeman. It was released to mark the 80th birthday of Paul Scofield in January 2002.
©2002 CUP (P)2002 Naxos AudioBooks
Any production of the play King Lear is anchored in the performance of Lear, and in this production I found the brilliant actor, Paul Scoffield's Lear to be lacking. I have listened many times to the Arkangel version with Trevor Peacock and is greatly more taking and engaging, as he plays Lear with some fire.
Paul Scoffield is a great actor and has done some great Lear's but this I fear this is not one of them. (There is a hard to get movie that he made which I found to be quite engaging (youtube)). In this audio-production, he has not life, no animation. In the opening scenes when Lear is throwing a tantrum, Scoffield's Lear barely raised his voice. It is if he was just mouthing the words.
The other characters that make the play are Lord and servant Kent as well as The Fool. In this production the character who plays Kent is good, but once again lacks the fire of the performance by Anton Lesser in the Arkangel production.
The actors who play Lear's daughters do a good job and it is interesting to hear the different take they give the parts than their counter parts with the Arkangel production. Both I find equally engaging though they are different interpretations of the characters.
Kent is one of the most engaging and interesting characters outside of Lear.
Trevor Peacock as Lear.
what kind of question is this? Shakespeare wrote the play with the characters it has, and none seemed superfluous. Why would one want to take a character out. It would be a different story then.
Each production of Shakespeare's play is an interpretation and the success lies with the actors and their performance. Not every production is guaranteed to be good, even if it has a giant of acting such as Paul Scoffield. One must I think listen to more than one version to get a real feel for the play.
Michelle my Belle
I suffered through the whole book, but found myself annoyed by the performances, especially the king who would let out the most annoying moans and screams at a volume that was jarring and disruptive. What might work on the stage did does not necessarily work for an audio book.
no. Too difficut to follow the charactors
I liked the sound effects.
The voices volume kept changing so It was difficult to keep listening.
Great to hear as a middle adult with aging parents and young adult children. What is the legacy of care that we want to leave? I am working on reading and listening to literature that we read as adolescents and young adults which were really meant for a later stage of emotional and intellectual development. This was a good one. Les Miserable, unabridged, was another.
Excellent sound quality and great acting. Well worth it! They cut the trial scene in act three scene six, so that was a little disappointing but otherwise great production.
I was excited to get the story of King Lear but this sounds like it was recorded from the audience of a play. The voices were too many and I just couldn't follow it because of the hushed tones and bad audio.
"Best over the top acting ever."
The awesome over the top performance of the titular king.
The first scene with King Lear and his daughters sticks in the mind.
This is the excellent foppery of the world that when we are sick in fortune—often the surfeit of our own behavior—we make guilty of our disasters the sun, the moon, and the stars, as if we were villains by necessity, fools by heavenly compulsion, knaves, thieves, and treachers by spherical predominance, drunkards, liars, and adulterers by an enforced obedience of planetary influence, and all that we are evil in by a divine thrusting-on. An admirable evasion of whoremaster man, to lay his goatish disposition to the charge of a star!
Don't be layin' no goats on stars.
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