King Lear Gets the Royal Treatment by The REP

By Mike Logothetis

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. 

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. 

Lear Fills Arden's Village Green with Tragedy (and Comedy)

By Guest Blogger Carol Van Zoeren

Carol is a 40+ veteran of community theater and a retired chemist and retired from being a middle manager at DuPont.

 James Kassees (Kent), Kerry Kristine McElrone (Goneril) &
Greg Tigani (Lear). Photos: Pete Lounsbury Photography.

It’s not summer unless I see some Shakespeare outdoors. Thankfully, our area offers two great opportunities every summer: Delaware Shakespeare Festival at Rockwood in July and the Arden Shakespeare Guild, now performing King Lear in North Wilmington. 

Greg Tigani (Lear) &
Lily Ozer (Cordelia).

King Lear has always been one of my favorites. I’m sure it dates back to my college days. I’d read a few plays and, well...meh. But freshman year, my professor showed us a video of the NYC Shakespeare in the Park production. When that sexy bad boy Edmund – the breeze billowing his rakishly long hair – bellowed “Wherefore bastard, why base”…um…I was…ah…let’s just say “undone.” 

Shakespeare on the page ain’t nothin’ compared to Shakespeare on the stage! And Arden’s production certainly delivers! Full disclosure: I’m friends with a lot of the people involved, and I know how talented they are. Director Mary Catherine Kelley has a dream cast, and my expectations were high. 

Robert Tietze (Edgar),
James Kassees (Kent),
Greg Tigani (Lear) &
Tim Donovan (Fool).

I consider Shakespeare productions a success if I learn, if I see, if I feel, something new, different and/or deeper than I had before. This production took me deeper into the heartbreak the characters inflict upon one another. I saw how Goneril’s and Regan’s deceitful natures poisoned everyone they touched and eventually, each other. I saw how crushed Gloucester was to realize he had placed his trust in the wrong son. I saw how Lear crumbled when he realized that words of love mean nothing. And I saw the helpers – Kent, Edgar, Cordelia – all of whom had to remove themselves from this poisonous atmosphere, whether geographically or by disguise, to protect the ones they loved. 

Emma Orr (Regan).

And more down to earth, in my 40+ years of community theater, I’ve always felt that the hallmarks of a really good production are how deep is the bench, how good is the chorus, are the smaller roles just throwaways, or are they fully fleshed out? I’d never thought about Goneril’s and Regan’s husbands, but for the first time I saw them. And I saw the huge difference between them. 

OK, logistics. Arden's Frank Stephens Memorial Theater is directly under the flight path of the Philly airport. In addition, there was a fireworks display going on somewhere nearby. The cast adjusted admirably, increasing the volume when there was aural competition. But how fabulous to have these “natural” sound effects for “Blow winds and crack your cheeks”?

My only serious logistical quibble was a certain shakiness with lines. Not because I know the play inside and out – I don’t. But being an actress myself, I recognize the full cast "deer in the headlights" look when you don’t know when, what, or how your next cue is going to come. Maybe this will get better later in the run.

See http://ardenclub.org/shakespeare-gild.