King Lear

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One of Shakespeare’s most visceral and engaging works, King Lear tracks the destructive effects of the old king’s arrogance on himself and those around him.  From his initial irrational decision to exile his one faithful daughter springs a series of treacheries that bring violence that bring violence and destruction to the entire kingdom.


Putting on a production of King Lear in four weeks is, frankly, a daft idea.  It has been challenging, time-consuming and at times more than a little stressful.

On the other hand, I can’t imagine a more enjoyable way to have spent the beginning of my second year, or the last time I looked forward to something as much as this.  Since getting proposals, which seems so long ago, not a day has passed when I haven’t thought about the play.  Cutting the play (by roughly a third from its original length.  Sorry Will).  Planning the play.  Getting a team for the play.

The gap between proposals (in May) and starting the process last month is an odd one.  Over the summer, September couldn’t come fast enough.  Auditions, rehearsals, show week.  How far away they seemed.  Then term started.  By contrast with the months before, the last four weeks have gone frighteningly quickly.

It’s at this point I need to point out that, while seemingly fleeting, the last month has been incredible, and begin thanking people.  The enthusiasm of the cast, from the audition process and throughout rehearsals has been an absolute joy, and they deserve immense credit for their hard work and huge talent.  A phenomenal group of people, with a ceaseless ability to transform my anxiety about the play into pride and awe.  Kate and Alex, I cannot say enough about your contribution to this process.  From the moment you were invited onto the team to now you’ve both been supportive and dedicated as well as calming and encouraging in all the right places.  And Joe.  Although the last, not least.  For agreeing to take this on with me, for getting the balance between friend and team member right at all times, and because without you none of this could have happened, thank you.  Enjoy the show.


King Lear – Josh Finan

Gloucester – Andy Elkington

Edmund – Tom McMahon

Edgar – Doug Dunn

Cordelia – Sarah Sharp

Kent – Ellie Webb

Fools – Megan Gunn, Jade Richards, Elisa Santos

Regan – Loma Sylvana

Goneril – Ellen Jurczak

Oswald – Essie Barrow

Duke of Cornwall – Richard Agar

Duke of Albany – Matt Woodhead

Doctor / Chorus – Dorrit Pollard-Davey

Old Woman / Chorus – Danielle Patrick

King of France / Chorus – Thomas Brown

Servant / Chorus – John Murphy


Director – James Travers

Production Manager – Joe Bunce

Stage Manager – Kate Warburton

Producer – Alex Marshall


Lighting Designer – Selina Thompson

Composer – Matt Malone

Set Design/Construction – Genevieve Cant, Alex Flood

Lighting Operator – Anna Lamont

Sound Operator – Luke Singleton

Blood Effects Designer – Loma Sylvana

Blood Operator – Kate Lynas

Band – Andrew Greenwood, Elinor Hardcastle, Joe Wilkinson, Ben Hoblyn, Emily Moss, Katy Robinson, Josh Taylor, Sam Chapman, Catherine Bryant, Kate Smith