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October 2, 2014

At the company’s home base on the South Bank of the Thames, the emphasis has always been on bridging the distance between audience and performers, as a way of reaching back to the more intimate rapport that was said to prevail in Elizabethan times. When Broadway hosted two productions from the company last season with the luminous Mark Rylance starring, a certain playful mood was certainly in the air. But this frolicsome tone seems a dubious tactic for King Lear, Shakespeare’s darkest and most corrosive tragedy. It’s a bit like putting one of Goya’s disturbing black paintings in a Hello Kitty frame.

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