ÐÏࡱá;þÿ þÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿýÿÿÿþÿÿÿþÿÿÿþÿÿÿ þÿÿÿ ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿRÿÿÿÿÿÿÿÿ ÀF€Á>=ò¾@CompObjÿÿÿÿÿÿÿÿÿÿÿÿ\WordDocumentÿÿÿÿÿÿÿÿ ÆObjectPoolÿÿÿÿ+¦<ò¾+¦<ò¾þÿÿÿþÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿþÿÿÿÿÿ ÀFMicrosoft Word 6.0 DocumentþÿÿÿNB6WWord.Document.6;ÿþ þÿ òŸ…àOùh«‘+'³Ù0‹˜ÍÞö   ,8@ HTq yƒÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ-Macintosh HD:Microsoft Word:Templates:Normal UntitledJohn ChattertonJohn Chatterton'@Ôÿ%ò¾@€vÓòÌç@Ôÿ%ò¾ÐW @Microsoft Word 6.0.12ÐÏࡱá;ÿþ ÿÿÿþÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿSummaryInformation(ÿÿÿÿÿÿÿÿÿÿÿÿ»ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿŠêþu0Okœ¸ü ¡ .2yŠû`'ðû`'ðû`'ðû`'ðû`'ðû`'ðû`'ðû`'ðû`'ðû`'ðû `'ðû`'ðû `'ðû`'ðû`'ðû`'ðû`'ðû`'ðû`'ð<<*K`ñÿNormalac*`* Heading 1 ð<Uc0k$(`( Heading 2 ð<Uc$(`( Heading 3 ð<Uc$`$ Heading 4 ð<U&`& Heading 5ð<Uc&`& Heading 6ð<Uc"A`òÿ¡"Default Paragraph Font þo Address<<V&þo& Blockquotehh<<þo¢CITEVþo¢!CODE]c.þo2.Definition Compacth˜þ<<,þoB,Definition ListÐ0ý<<"þo¢Q"Definition Term]cþo¢a DefinitionVc(þo( Directoryh@ €þo¢EmphasisV4þo4Horizontal Ruleìÿ&é'é(é)é/þo¢¡ Hypertext^bþo¢±Keyboard]^c`0`Â` List BulletF Иþ 4ÿh·`1`Ò` List NumberF Иþ 4ÿÿh.XþoXMenuF Иþ 4ÿh·········\þoò\PRE WIDE@ ÀN1»%/ûöòí èãÞÚÕÐË Æ#Â&½)¸,]cZþoZ Preformatted:  1»0»%) `À € à@ `À! %€(à+]c"þoñÿ" RestartList!òÿþo¢!Sample]þo¢1 StrikethroughWþo¢AStrongUþo¢Q Typewriter]cþo¢aVariableV]c*þo*z-Bottom of Form'&c þo¢ z-HTML Tag ]^bc(þo( z-Top of Form)(cŠ ÿÿÿÿ ÿÿ ÿÿ Š ê Š GJohn Chatterton4Macintosh HD:OOBR:Aisle Say:top:volFive:six:lear.txtÿ@€5]MTimes New RomanTimes Symbol"MArialHelvetica MTimes MCourier"HˆÐhbÅ+FbÅ+FÐW ƒd:UntitledJohn ChattertonJohn ChattertonÐÏࡱá;ÿþ Ü¥hSÀ eŠÆŠ TTTTTT ^ T×]hhhhhhhh¯±±±±±±&4XŒ:×h hhhh×hhhhhhhhh¯.<h¯hGh

KING LEAR

By William Shakespeare
Directed by Rod McLucas
Theatre Ten Ten
Equity Showcase (closed)
Review by Dudley Stone

King Lear, according to Shelley, is 'the most perfect speciman of the dramatic art exising in the world", and some critics have said that the play is superior to Hamlet, for Hamlet's problems are thrust upon him whereas Lear's own nature creates his own problems. Rather than the drama of human relations, here we have man revolting against the moral laws of the universe and earning the wrath or support of the Gods: "as flies to wanton boys are we to the gods: They kill us for their sport" or "The gods are just, and of our pleasant vices make instruments to plague us." A headstrong and arrogant old man decides to give the largest share of his kingdom to the daughter he loves the most. Fooled by the flattery of his daughters Goneril and Regan, he banishes his honest daughter, Cordelia. The other two plot to destroy him. Lear goes mad but in the process disc overs his humanity. One central theme of many in this masterpiece is blindness and insight: Gloucester, like the King, realizes the truth only after he has been blinded. After physical destruction comes spiritual insight.

Surely any company deciding to do this play must do so with some trepidation, as must the actor taking on the challenge of Lear (London Times critic Harold Hobson, for example, described Olivier's Lear as "the greatest piece of Shakespearean acting I have ever seen."). Congratulations are due then to Theatre Ten Ten and their director, Rod McLucas, who produced a Lear to be proud of. Set in Ancient Britain (with the characters in skins and painted faces often grunting and gesturing like apes) costumes uncredited, and done in the round with an almost empty stage , the director's conception fascinates and the play moves smoothly and excitingly through its two and a half hours. Acting ranges from good to considerably more than that. One serious concern: David Fuller as Lear is much too young for the part, in fact, he looks little older than his daughters, yet the play reminds us over and over again that he is old. It's hard to understand why Mr. Fuller could not have been made up to look old, have work a kingly costume and added a wig and/or beard. 'Tis passing strange. And sad because Mr. Fuller is a fine actor, but much too strong and virile here for an old King.

Top acting honors to Mr. Fuller, nonetheless for this, perhaps the greatest challenge in all drama; director McLucas, a very strong Gloucester; Janice Johnson an exciting and sensual Goneril; Jason Hauser, the villainous Edmund; Mark Rimer, Kent, and Andrew Oswald, Edgar. Good work, too, from Karla Hendrick, Cordelia; Judith Jarosz, Regan; Nicholas Martin-Smith, Cornwall; and an interesting female Fool, Jeanine Serrales. Rounding out this fine ensemble: Steven Mallory, Nicholas Gray, Christoffer Horn, Erica Highberg, and Hugh Fitzgerald. All this and and an exciting duel between Edgar and Edmund (Fight Director, Joseph Travers). Bravos to all!

Writing 2; Directing 2; Acting 2; Set 1; Costumes 2; Lighting/Sound 1 ýîÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿèüˆˆŽ€îÿÌŽÌÿÿÿÿÿÿÿÿÿÿÿÿþÌßÿÿþȏìȈˆˆˆˆˆˆˆˆˆÌÌÌÎïüÿÿÿîÿÿÿÿsÿÿÿÿÿÿÿÿÿè‘Å¡œÅÅ¦8§8…Ô €h €Ð €Ð €Ð €Ð €Ð €Ð €Ð €Ð.........)()()ÐÏࡱá;ÿþ ÿÿÿþÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿ