“This is a passionate production and the minimalistic delivery presents the actors with the format to amp up the passion … But when we see on stage the deaths – all lined up in chairs against the wall – it’s a clear picture for us of the completeness of the tragedy.”
Julia Newbould
4 Serpent’s teeth
Venue: Belvoir Street Theatre
Sydney
Dates: Until January 4th 2026
Anyone booking tickets to this show will not be in for any surprises. Lear lives, Lear dies, and in between so do his three daughters.
There are many reasons for seeing King Lear; some of us have studied it, others just love Shakespeare and there are those who are just interested in the story, actors, or production. I heard some audience members saying while they didn’t always understand Shakespeare’s words – it was just like going to the ballet or opera – you understood the gist and that was enough.
For many of us who have studied this Shakespeare, we don’t expect surprises, we just expect solid performances and great deliveries of the most famous lines. But we go to see it because it’s Lear. He’s one of Shakespeare’s greatest roles and this time around it is Colin Friels enjoying his Lear moment.
Friels makes a great Lear. He is not too old, but he is ready for Lear. With ageing relatives, I am more ready for Lear, more familiar with ageing and dementia and general descent into decrepitude.
King Lear has decided to retire and divide his kingdom between his three daughters, Goneril (Charlotte Friels), Regan (Jana Zvedeniuk) and his favourite, Cordelia (Ahunim Abebe). In allocating each daughter’s lands, Lear (Colin Friels) asks each of them to tell him how much they love him and it is as each of the elder sisters flatters him that he announces their portions of his kingdom. However, when Cordelia is asked what she can say to top the love her sisters have professed she says “nothing”.
Lear, wanting to be flattered, takes great offence and tells her: “Nothing will come of nothing: speak again”.
She says, “I love your majesty according to my bond; no more nor less”. This sets off his madness. He divides her third of the kingdom between her elder sisters and their husbands, banishes her from him forever, and denies her his love. It is then decided he will spend half his time with Goneril and the other with Regan. However, the sisters are not interested in their father once they have his kingdom.
They will not tolerate his entourage or his behaviour, and he is soon turfed out of Goneril’s home and then Regan’s.
Friel’s delivery of the invectives in the “How sharper than a serpent’s tooth it is to have a thankless child!” speech was so passionate and sharp that there were gasps from the audience. Set on a bare stage, we are focused on the actors’ delivery and two musicians in a boxed position on the side of the stage contribute sounds to replace visuals.
Director Eamon Flack has taken one of the play’s original titles for his production because he believes that it’s more reflective of the story – which is more about a regime taking on power than just a king. This is reflected in the way the daughters Goneril and Regan are portrayed – as strong, powerful, and conniving women. Goneril is played by Friel’s daughter Charlotte Friels who is fierce in the role, Regan, played by Jana Zvedeniuk, is similarly chilling in a more crazed way.
This is a passionate production and the minimalistic delivery presents the actors with the format to amp up the passion. Alison Whyte is exceptional as Countess of Gloucester. Her scene when she is reunited with Lear is particularly touching. Raj Labade is outstanding as the evil Edmund and Tom Conroy gives a sensitive nuanced portrayal as his brother Edgar. And of course, it’s always a treat to see Peter Carroll, this time as Lear’s Fool. It was the same role he played in 1994 for Sydney Theatre Company.
King Lear is a tragedy and we know it does not end well. But when we see on stage the deaths – all lined up in chairs against the wall – it’s a clear picture for us of the completeness of the tragedy.
Julia Newbould, Theatre Now
