The Family

Further thinking about the three thematic approaches to the play: I don’t think I can justify taking a metaphysical approach to the production. I say “justify” because I would feel as though my interpretation would require more justification if it were about the universe, or God, or gods, or the absence of all the above. To make so grand a statement, a director would really have to understand the play, in the broadest sense. I’m not sure I’m there yet—and in fact, the more I read about the play, the less I feel I really understand.

A metaphysical production also needs to be definitive, and I don’t really believe drama is about definitiveness. A great theatrical production is open-ended, outward-reaching, asking questions without providing answers. If I were to say, for example, that my Lear exists within a cruel and godless cosmos, I would be preempting the right of both characters and audience members to arrive at contrary interpretations of the Lear world.

By contrast, a play about politics seems to beg for differing interpretations, because it will be performed by and for people with a wide range of political opinions. And a play about family is even better, because not everyone has politics, but everyone has family. On any given night, the audience will be composed of fathers, mothers, daughters, sons, brothers and sisters, and they will all bring their own particular perspectives to the family dynamics in the play.

To some directors, that fact alone may be enough to make them shy away from a family-centric interpretation. You may want to make your audience sympathise with poor old Lear, for instance, but find your intentions frustrated when you end up with an audience of young women with dad issues. Or, if you try to play up Cordelia’s virtuousness, you may find yourself up against a crowd of savvy seniors who decide she’s a prissy spoiled brat who can’t speak up for herself. And so on.

None the less, certain things are pretty much universal. Families fight, and no matter what side of the conflict you’re on, you’re bound to find some sympathy in the depiction of the fight itself. Lear is about a family squabble that gets out of hand. Everyone will find someone different to blame, and someone different to sympathise with—but everyone in the audience will, by the final act, agree upon the fact that everybody suffers when a feud erupts.

On the practical side of things, I have confirmed my first two cohorts in this project: Jaclyn Thomey, my Production Manager, and Murray Goodwin, my Assistant Director. Next, I will need a crackerjack Stage Manager and a designer or two. The cast will come later—much later.