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LONDON Reviews

Rip It Up Publications

“ A must-see for all Shakespeare fans” 

“I’d like to see more Shakespeare presented in this manner –Exhilarating” 

Jean Cannon

“I took my Grandson and he loved it. High praise when you capture an 8yr old with Shakespeare" 

The Barefoot Review

“The experience is visceral, and deeply moving"

 “Both performers display mastery of their craft.”

 “An exciting re-imagining of Shakespeare’s classic tale of betrayal and madness.”

“An engaging interpretation” 

La Provence -  Avignon Ferstival 

The Madness of King Lear ♥ ♥ ♥ ♥
(Interpreted from French Review)

The Madness of King Lear of Shakespeare, this piece is totally in
English and thus addresses the English speaking audiences and those who wish to
discover and rediscover Shakespeare in a different way.
Leofric Kingsford-Smith and Shakti interpretes on stage, this famous play by Shakespeare
mixing monologue and interpretive dance. Cordelia and all the other characters revolving
around King Lear are interpreted by dancer, Shakti who utilises all the talents of the body
and expressions to accompany the intense dialogue (text) of King Lear, played by Leofric.
The scene is pure, the music well chosen and varied and the costumes Asian-inspired.
This Australian show is a fusion of different genres, cultures and continents.
Avignon is a stage, a place rich in culture which the company of “The Madness of King
Lear” used and exploited well.

Nick Martin – The Garage International. 9 Mar 2012

The Garage International have combined to create an exciting re-imagining of Shakespeare’s classic tale of betrayal and madness. From the very outset the audience knows that what they are about to experience is not your garden variety re-imagining of the Bard’s work.

This production draws widely from disparate performing traditions in order to unravel the key turning points of the narrative. Elements of Indian and Japanese tradition are woven seamlessly into the story with great physicality from dancer, Shakti. These moments of physical dynamism act like the stitching between the more textual ramblings of Lear (Leofric Kingsford-Smith).

Both performers display mastery of their craft. Kingsford-Smith’s voice rises and descends through the text sensitively and his choices are unpredictable and well considered. Shakti moves with great emotionality reflecting the atmosphere of turmoil with tremendous energy and commitment. However when she opens her mouth to speak we sometimes struggle to understand her.

This retracing of the classic text is a little different from your average highlights package in that the company have made no attempt to retell the story of Lear’s decline into madness in a structured coherent way. This is a good thing. Director Ira Seidenstein has rendered the narrative down to the very barest essentials. As a result the experience is visceral, and deeply moving.