TO judge by the rapt performance from an audience largely comprised of Leaving Certificate students, Second Age's new production of one of Shakespeare's most revered tragedies (albeit tinged by populist shock tactics and shades of what was to become known as grand guignol) is eminently satisfactory as a live theatre staging for those studying its text. But for those who have previous theatrical experiences of the play it offers few new insights and - unusually for Second Age - not quite enough clarity of speech and rhythms to bring out the great strengths of the language and imagery which can give the drama its richness.
Alan Stanford's direction is efficient and highly professional, but it suffers from unevenness of both pace and purpose, and some of the individual performances lack any depth of characterisation. As the doomed King, Robert O'Mahoney is proficient; but, with scarcely greyed hair, the muscular physicality of a man in early middle age and a vocal technique that gets the words out with clarity but does not dig into the emotional resonances of those words he contrives to conceal rather the reveal the soul of this old man. He does not manage to evoke the desolation resultant on his foolish decision to distribute his kingdom to his two dishonest daughters and to exile the one who is unable to express her love for her father in lavishly insincere words.
The three daughters are, in performance, nicely distinguished from each other, yet Catherine Mack's Goneril and Donna Dent's Regan come across more like greedy and unfaithful suburban housewives than like the evil creatures that the author requires, while Catherine Walker's Cordelia appears too close to Goody Two Shoes to be worthy of her place as the daughter of a king.
The subplot of the villainy of Edmund against his upright brother and sturdy father Gloucester fares better in both direction and performances, with Frank Coughlan's faithful Gloucester coming out as the performance of the night in terms of clarity and emotional content. Brian Thunder's victimised Edgar and Simon O'Gorniars venomous Edmund are persuasive in terms of both meaning and emotion. And the most creatively original characterisation comes from Nicholas Grennell as the complaisant servant.
Others tend to suffer from Leonore McDonagh's costumes which, resembling a kind of rustic elfin Star Trek gear, make everyone look alike. Ciara McCarthy provides adequate lighting and Trevor Knight an occasionally oppressive movie like musical score. And how good to find Bronwen Casson again designing a wholly appropriate setting which is atmospherically just right and functionally excellent for the production.
