The Theatricum Botanicum summer production of Lear is a must see. The outdoor theater is one of the most beautiful in all of Southern California with an ambiance that is both inviting and magical all at once, as if you’ve unknowingly stepped into a summer Narnia and something truly great is about take place. It smells like the woods, it looks like the woods, it sounds like the woods, and it tastes like hot chocolate and iambic pentameter. The stage blends effortlessly into the Malibu hills, and when the characters are a long way off, as Shakespeare often writes, the actors are genuinely a long way off. How often do we get to see that kind of space and scope in densely packed Los Angeles?
Literally and figuratively, Will Geer’s Theatricum Botanicum is a breath of fresh air. The production of Lear mixes things up this year with a queen playing the title role rather than a king, and instead of three daughters, the queen has three sons. The entire play takes on a new edge, diving into the complexities of the mother and son relationship, and the relationships those three brothers have with the women around them, as their counterparts have also been gender-reversed. Explaining the changes to the average audience member who is not familiar with Shakespeare’s original King Lear gets a little complicated, especially when the production is so brilliantly smooth and compelling that even someone who has read the play before might wonder if perhaps this is how Shakespeare originally intended it. I found myself shaking my head in awe of how well it worked, this risk of shifting genders. We’ve seen many productions of Shakespeare’s plays, and directors have a tendency to adapt them in ways that are “cool” or “interesting,” but often don’t really contribute to the story. Theatricum Botanicum’s Lear is quite the opposite. While maintaining a traditional Elizabethan costume design, complimented deeply by the atmosphere of the stage itself, this production finds a perfect balance between stability and chance taking.
In addition, the acting is superb. Ellen Geer, longtime Theatricum Botanicum performer and the current Artistic Director of the theater, gives an exceptional performance as Queen Lear. She marries the regality and fragility of Lear’s character with an astonishing quirkiness that seems distinctly feminine and so incredibly real. It’s as if she’s each of our grandmothers at whom we poke fun, we might pity, and truly love, all at once. Geer’s real-life daughter Willow is excellent as Eden, the legitimate daughter of the Earl of Gloucester, played by Alan Blumenfeld. Although she starts the play as a meek and gentle spirit, Eden is forced to disguise herself as a beggar. She names herself Poor Tom and prances about the stage as if she’s completely lost her marbles. Willow Geer plays this transformation so convincingly I forgot that she was the same character. What a delight to be as convinced as her father the Earl, who takes her for the beggar she pretends. The moments between the two of them are both heart wrenching and lovely. The Earl’s other, illegitimate daughter Igraine is one of the most famous roles in Shakespeare. This role also being gender reversed, we get to see actress Abby Craden bring a distinctly feminine viciousness to the conniving nature of the character. She effortlessly switches from plotting villain to damsel in distress, showing us not only Igraine’s adeptness, but Craden’s too.
Aaron Hendry and Christopher W. Jones lead the destruction as Lear’s two eldest and orneriest sons, Goneril and Regan. Both actors carry a grace and confidence earned from years of training and practice. I was impressed with the ease they brought to bear on these two vile characters; they made the text sound natural, as if it had never been written into any sort of poetic structure at all. Also quite lovely was the woman who played Goneril’s wife, Taylor Jackson Ross. She possessed an integrity that contrasted so perfectly with her husband’s evil, that I believed her portrayal from the very first scene. Liz Eldridge, who played Regan’s wife the Duchess of Cornwall, caught just the right balance between catty daughter-in-law and ruler of her own household. She was a good counterpart to her husband. Gerald C. Rivers gives a strong performance as the Earl of Kent, the Queen’s most loyal friend who saves her more times than she’ll ever realize and Dane Oliver plays the only loyal son Cordelion, who alone acts upon the vows of love he made to his mother the Queen. Melora Marshall brilliantly plays the Queen’s Fool, whose jokes spit more wisdom than might appear. Her physical embodiment of the role is sharp and committed, making her words ring all the more truly.
Marshall also co-directed this production with Ellen Geer, and I must say in my opinion, it is quite an accomplishment. The many other actors give themselves completely to the world, and make this a show you absolutely do not want to miss.
Definitely bring a warm sweater, scarf, or blanket with you as it does get cold at night, and if you want something to sit on other than the wooden seats, bring a pillow or a cushion. They also have cushions you can purchase at the venue for the duration of the show. Also, make sure you have some extra cash to contribute to the Young Actors Fund, where you can help support the non-equity and intern actors involved in the show. They’ve also got cheap hot chocolate, cider, tea, and snacks, so come prepared for a lovely evening of theatre, woods, food, and fun!