Regal performances mark PICT’s “King Lear”

“King…“King Lear” Pittsburgh Irish and Classical Theater Charity Randall Theatre, Stephen Foster Memorial, Oakland Runs through April 26 Student tickets: $17, other tickets: $40-45 Starring: Dakin Matthews, David Whalen, Karen Baum

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A main character’s loss of sanity is a common occurrence in drama, and Shakespeare’s “King Lear” exemplifies this.

Showing at The Charity Randall Theatre and featuring a nuanced Dakin Matthews in the title role, “Lear” covers the spiral of a powerful man into the depths of insanity in a tale that still haunts audiences today.

The Pittsburgh Irish ‘ Classical Theatre’s presentation of “Lear,” directed by James J. Christy, begins with the King’s announcement of imminent abdication of the throne and insistence that his daughters make speeches about how much they love him.

The reward for the best boast? A huge tract of land, bigger than either of the kingdom’s two other divisions. Of the three daughters, Goneril (Helena Ruoti) and Regan (Robin Walsh) greedily compete while the pure Cordelia (Karen Baum) decides that she could never take part in a competition that would stain her love for her father.

She is subsequently banished, leaving Goneril and Regan to plot against each other and the king. Lear’s descent is paralleled by Edgar’s (David Whalen), a result of his bastard brother Edmund’s (Paul Todaro) cunning treachery.

The performance is notable for its enigmatic presentation of stage elements. The minimal contemporary set is dominated by two overlapping curtains of steel – a reference to Pittsburgh’s heritage – at the back of the stage. A round platform filled with dirt, akin to an oversized post-modern flower-box, covers center stage.

This is where most of the action takes place. Lear holds his court here, Edmund tricks Edgar into fleeing here, and the upstanding Kent displays tremendous loyalty here.

This presentation of “King Lear” is sure to please any theater-goer who delights in appending abstract concepts to the flesh-and-blood action.

For those who would rather watch Shakespeare for the narrative, Matthews carries the performance with able assistance from Whalen’s Edgar and Todaro’s Edmund.

Fitting the central theme of madness, there’s a large quantity of raving directed on stage and off. This makes Matthews’ delivery of self-directed lines more important and more enjoyable, and his cuts from bellowing to dawning realization vocalized by a meek “Huh?” golden.

Whalen conveys the psychic struggle of the falsely accused royal admirably, ranging from weepy to completely livid. It seems like he interprets Edgar as bipolar, and his moods are smartly portrayed.

Todaro gives Edmund a cocky strut and a mischievous attitude that break up the melodramatic depths. He injects charisma and looks like he’s enjoying playing an evil character. Also figuring noticeably in this rendition are the chorus-like attendants, who serve as drummers, lighting technicians and scabbards.

They add an interesting spark to the drama, whether in plain view or peeking over the steel structure at the back of the stage. They even use spotlights to illuminate the king. Between the thunderous edicts of Matthews’ Lear and the sad, muddy remarks of Edmund, the stage transforms into Shakespeare’s failing kingdom.

As Lear realizes his mistakes and is reduced to nothing by them, the desire to see a resolution in his favor firmly pushes through.

This unique approach to “King Lear” will keep viewers watching anxiously until the final resolution takes place.