Ian McKellen’s King Lear has predictably got some glowing reviews. Some explanations for this are obvious even before seeing his impressive performance.McKellen always wins deference and admiration as a great actor. He has six Olivier awards, two Oscar nominations and a knighthood. His acclaimed roles include previous Lears, with the Royal Shakespeare Company about a decade ago, and in last year’s Jonathan Munby production in Chichester, which has now moved to London. He is also known for his Richard II, Hamlet and Gandalf among others. McKellen is 79, and we must be grateful that he is still choosing to work. In Lear he demonstrates the vigor and vim of a man half his age. He says that this is likely to be his “last big Shakespeare part.” It would seem ungracious, perverse or unperceptive to give him anything other than glowing praise. As an extra bonus, these 100 performances mark his return to the Duke of York’s, where he made his West End debut in 1964, which makes for a pair of neat career bookends.Reviewing this is like “The King’s New Clothes”: who would dare to say anything other than that this is a towering performance?There is indeed a lot to admire and enjoy. Lear arrives in state, in this case in modern dress, and delivers a regal speech before dividing his kingdom between his daughters. Sir Ian plays up the pomp and circumstance here, speaking in amusingly ham-actorly quotations.The real test of Lear lies ahead. It is a plum part for a senior actor but it’s not easy to move from composed king to crazy beggar. The star in the role has to convincingly show the transformation without overacting. The first warning sign comes as the troubled king rewards the insincere Regan and Goneril for their flowery flattery over his previous favorite, the plain-speaking Cordelia.McKellen handles the role with plenty of energy, lashing out at courtiers, speedily doing up his tie while fulminating on the evils of the world, throwing himself on the floor and jogging around the stage.This is a fine performance that bears comparison with some of the recent Lears this critic has seen.McKellen has much of the complexity brought by fellow theatrical knights Michael Gambon and Sir Derek Jacobi, the latter totally remarkable at the Donmar Warehouse and New York. Sir Anthony Sher’s Lear was one of the best I’ve seen – he deservedly got good reviews in London and inexplicably lukewarm ones on the recent New York transfer. Jonathan Pryce at the Almeida was scary, going from the barely-audible “let me not be mad,” to the thundering “Blow, winds, and crack your cheeks!”McKellen rushes through the lines as the King goes crazy. He punctuates sentences with tears and silences, and then swiftly dials down the rage as it mellows into an old man’s dotage.Jonathan Munby’s production comes with a flashier and larger set than its first incarnation outside London. There is an impressive rain interlude, and the cast is solid. The standout scene of Gloucester’s torture is reminiscent of “Reservoir Dogs” and boosted by Kirsty Bushell’s portrayal of Lear’s daughter Regan.This is a Lear to savor. If not the best ever, it will blow most playgoers away.Rating: ****. At Duke of York’s Theatre, through November 30. http://www.blouinartinfo.comFounder Louise Blouin
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