Theater Online - New York Theater Reviews

Ever since Joseph Papp introduced free outdoor Shakespeare to New York City with a production of "Julius Caesar" at the East River Amphitheater in 1956, al fresco performances of the Bard's plays have become a Big Apple summer fun staple. This sultry season at least five different theater companies are offering a variety of plays from the immortal dramatist's cannon.

Nevertheless, when I learned that the Boomerang Theater Company would be presenting "King Lear," arguably Shakespeare's most darkly philosophical and profoundly bleak tragedy, on weekend afternoons-in the heat of the day-in various city parks, I thought them to be as mad as the old king becomes or possessing the virtue of a Macduff.

The performance I attended, on a rather warm Sunday at 2PM, was in Brooklyn at the Empire- Fulton Ferry State Park, situated on the water's edge between the Brooklyn and Manhattan Bridges. The "stage" was a small area of grass with a few trees behind and beside, and the "orchestra seats" were anyplace one would like to sit in a nicely shaded area in front. The audience was interesting and eclectic-scholarly-looking elderly ladies who brought folding chairs; families with blankets, picnic lunches and little, spunky children; college-age friends content to sit on the grass; and several groups of young-looking professionals (computer programmers, money managers, actors“) with supplies of cheese, crackers, grapes and designer water. Of course, there were others one might find in any New York City park-bicycle riders, joggers who happen by, and perhaps even an odd theater critic.)

As is customary preceding any theatrical performance these days, announcements were made. They were not to turn off cell phones and such, but rather to instruct us that the play would be two hours without an intermission so we should feel free to … whatever, and there would be "elements" to contend with so we should get real close. The "elements" were not just associated with the imaginary storm of the play. They would be real gusts of wind and sounds-often loud sounds-of cars traversing the bridges, helicopters flying overhead, and subway trains rumbling across the Manhattan Bridge, not to mention those from tour boats and tugs on the river.

One was not to be disappointed. The elements were there, yet from the opening of the play two things became immediately apparent. Under the economic and astute direction of Philip Emeott, the actors-primarily costumed in modern dress (which worked to advantage)-would be unfazed, would certainly be heard and would execute their roles with daring, skill and truthfulness.

In Act I, scene 1 we meet the major players, and the tragedies of two fathers at odds with their children are set in motion. The central one is of King Lear (Bill Fairbairn), a foolish old man who wishes to relinquish his magisterial responsibilities by dividing his kingdom among his three daughters-the youngest and his favorite, an honest Cordelia (emotionally evoking Beth Ann Leone) and the not-very-nice, spleen-activating, dastardly duo of Goneril (Sarah Thigpen) and Regan (Kate Sandberg)-in proportion to how much they espouse their love for him. Cordelia falters and is banished, as is the loyal and clear-sighted Earl of Kent (David Stiler, later ironically charming in overalls and with a deceivingly local yokel persona) for berating his sovereign's imprudent actions.

A parallel plot involves the "ill-sighted" Earl of Gloucester (both demure and passionate Uriel Menson) being duped and betrayed by his bastard son Edmund (an effective Iago-like Zack Calhoon) and eventually being reconciled with his honest son Edgar (versatile Aaron Michael Zook .)

As Lear, Bill Fairbairn has taken on one of the most challenging of Shakespeare's characters and often achieves the intensity and insights demanded of the role. He seemed to excel in his outbursts of vehemence to those mortals who do not meet with his self-centered desires, interactions with his Fool (uniquely played and engaging, if not always on target, Benjamin Ellis Fine), and his return to sanity with Cordelia.

In addition to exciting choreographed fight scenes and realistic blood and guts depictions, other fine performances were delivered by Justin R. G. Holcomb (a cunning and sadistic Cornwall), Albany (a down-to-earth, yet progressively more noble John Dalmon), as well as David Sedgwick (a ubiquitous plot-enhancing, British-accented Oswald).

When I looked around as the imaginary curtain fell, I realized that all of the "orchestra seats" were still occupied (although some a little closer to the stage) and even the very youngest audience members looked quite delighted. I think it safe to say that all in attendance were quite pleased that the people at Boomerang Theater Company were a bit "mad" and quite "virtuous" in undertaking this "King Lear."