The timeless tragedy King Lear takes center stage at the Resident Ensemble Players (REP) for the month of April, bringing William Shakespeare’s powerful work to life in an unforgettable performance. Directed by Jackson Gay, the show captivated the audience with its gripping exploration of power, family, and the fragile line between sanity and madness.
Set in a world of political intrigue, King Lear tells the story of an aging monarch who divides his kingdom among his three daughters, only to be betrayed by those he trusts most. As Lear navigates the betrayal, the consequences of his decisions lead to a heart-wrenching unraveling of his family and his sanity.
“The hubris of our leaders, and ourselves, is a major theme in King Lear,” shares Gay. “And, more importantly, what good men and women do or not do when confronted with the need to speak truth, often at great personal cost. Our inclination to believe and listen to flatterers, instead of heeding the sometimes hard to swallow truth, is something we can all be guilty of at times.”
When powerful Kings cave into flatterers, do you think loyal men will be afraid to speak out against it? – Earl of Kent (Act 1, Scene 1)
Standout performances by Joseph Castillo-Midyett (Fool), Michael Gotch (Edmund), and Stephen Pelinski (King Lear) were only parts of the wholly satisfying, almost-immersive theater experience. Castillo-Midyett’s Fool pranced and flopped while spewing pearls of wisdom wrapped in silly words. Gotch showed the conniving nature of Edmund through his dastardly actions and effective soliloquies.
Pelinski’s Lear began with powerful decisiveness before the poor king can no longer do anything for himself. Watching the once-respected/feared leader fall into irreparable madness through heartbreaking scenes was truly affecting. Pelinski had the audience in the palm of his hand as his character’s mental faculties disappeared over successive scenes – his once imposing figure reduced to a shell of a man. While he once aggressively tore down palace curtains, he later slept humbly on a hovel floor.
To call attention to these three actors is not to diminish the performances of the rest of the cast. The ensemble was locked in and moved in concert with one another and the dynamic set. Kudos to Scenic Designer Riw Rakkulchon for creating an impressive stage with large moving pieces which set the tone for each scene. The mammoth sizes of the industrial-style blocks ultimately make every character appear small…almost petty. The bold angular lines of the blocks are reminiscent of those erected by fascist leaders a century ago in Europe – they are stark and foreboding. The storm scenes were incredible with the crashes of lightning; the claps of thunder; the rolling mist; and the downpour from above.
This production is one not to miss. King Lear’s themes of loyalty, justice, and the corrupting nature of power are particularly resonant in today’s world, making this play an essential theatrical experience for audiences of all ages.
‘Tis the times’ plague, when madmen lead the blind. – Earl of Gloucester (Act 4, Scene 1)
The cast includes REP company members Pelinksi*; Gotch*; Elizabeth Heflin* (Regan); Hassan El-Amin* (Earl of Gloucester); Kathleen Pirkl Tague* (Goneril); Lee E. Ernst* (Earl of Kent); Mic Matarrese* (Edgar); and Steve Tague* (Duke of Albany). Guest actors include Castillo-Midyett*; Erin Partin* (Cordelia); Alan Ross* (Duke of Burgundy); Jeorge Bennett Watson* (Duke of Cornwall); Tamil Periasamy* (King of France); and Dan Domingues* (Oswald). *Member of Actors’ Equity Association.
The creative team includes Gay; Rakkulchon; Kim Krumm Sorenson (Costume Designer); Paul Whitaker (Light Designer); Megumi Katayama (Sound Designer); Denise O’Brien (Wig Designer); and Lee E. Ernst (Fight Choreographer).
Performances of King Lear run through Sunday, April 27. Informal talkbacks with the cast take place following the evening performances on Thursday, April 17, and Friday, April 25. Two “Prologues” occur on Saturday, April 19, and Sunday, April 27. Tickets prices range from $20-39 with discounts available for students, seniors, plus University of Delaware faculty and staff.
To call attention to these three actors is not to diminish the performances of the rest of the cast. The ensemble was locked in and moved in concert with one another and the dynamic set. Kudos to Scenic Designer Riw Rakkulchon for creating an impressive stage with large moving pieces which set the tone for each scene. The mammoth sizes of the industrial-style blocks ultimately make every character appear small…almost petty. The bold angular lines of the blocks are reminiscent of those erected by fascist leaders a century ago in Europe – they are stark and foreboding. The storm scenes were incredible with the crashes of lightning; the claps of thunder; the rolling mist; and the downpour from above.
This production is one not to miss. King Lear’s themes of loyalty, justice, and the corrupting nature of power are particularly resonant in today’s world, making this play an essential theatrical experience for audiences of all ages.
‘Tis the times’ plague, when madmen lead the blind. – Earl of Gloucester (Act 4, Scene 1)
The cast includes REP company members Pelinksi*; Gotch*; Elizabeth Heflin* (Regan); Hassan El-Amin* (Earl of Gloucester); Kathleen Pirkl Tague* (Goneril); Lee E. Ernst* (Earl of Kent); Mic Matarrese* (Edgar); and Steve Tague* (Duke of Albany). Guest actors include Castillo-Midyett*; Erin Partin* (Cordelia); Alan Ross* (Duke of Burgundy); Jeorge Bennett Watson* (Duke of Cornwall); Tamil Periasamy* (King of France); and Dan Domingues* (Oswald). *Member of Actors’ Equity Association.
The creative team includes Gay; Rakkulchon; Kim Krumm Sorenson (Costume Designer); Paul Whitaker (Light Designer); Megumi Katayama (Sound Designer); Denise O’Brien (Wig Designer); and Lee E. Ernst (Fight Choreographer).
Performances of King Lear run through Sunday, April 27. Informal talkbacks with the cast take place following the evening performances on Thursday, April 17, and Friday, April 25. Two “Prologues” occur on Saturday, April 19, and Sunday, April 27. Tickets prices range from $20-39 with discounts available for students, seniors, plus University of Delaware faculty and staff.
Tickets can be purchased online at www.rep.udel.edu; by contacting The REP box office at 302.831.2204; or visiting in person at 110 Orchard Road, Tuesdays through Fridays from 12:00 to 5:00pm. The show runs approximately 2 hours and 45 minutes with one 15-minute intermission between acts. Warning: This production includes violence, theatrical fog, and strobe lights.
The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling 302.831.2204 or emailing cfa-boxoffice@udel.edu.
The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling 302.831.2204 or emailing cfa-boxoffice@udel.edu.