An evocative queer Lear reimagining

I will admit that I've never watched King Lear or read the script. I've never seen an elderly Shakespearean titan seize the role he spent a lifetime preparing for. So I was excited to finally see what all the fuss is about.

Hwyl Theatre's Queen Lear is staged at the Lyttelton Arts Factory. Picturesque clouds hang above the stage, with light and sound transforming them through the rapidly shifting climates of the dystopian remains of Britain a mere 100 years hence.

Our maestro of music and sound – Peter Robertson – has a little cubby where he humorously plays one of the "Bedlam beggars" while also operating the show's sound effects. The opening music is a highlight. Much of the show's soundscape is sparse by necessity, allowing the actors' unamplified voices to carry to the audience.

The play's movement, combat, and choreography are impressive. Even before the show and during the intermission, the stage is alight with fascinating (sometimes entertaining) motion.

The costumes and make-up are outstanding, building a truly believable world and characters. Delightfully sparkly, camp, and futuristic. Who knew dystopic sci-fi and Shakespeare could come together so seamlessly!

Andrea Hunt (Queen Lear) begins the play as the articulate head of the Lear Corporation. She is the very picture of quiet, confident professionalism. But when she peels away her futuristic corporate attire to reveal a floral slip dress, I am transported to sad memories of dementia wards where residents – stripped of their inhibitions, social mores, and adult personalities – engage in sometimes bizarre behaviours. Would any unwell ruler with unlimited power be allowed to don a floral headdress and venture dangerously into the wilderness? I'm reminded of the Bible's reimagining of King Nebuchadnezzar of Babylon.

One line strikes right into my heart. In a moment of uncharacteristic clarity, Queen Lear says "I fear I am not in my perfect mind." The line elicits a laugh, but it is brutally real. It evokes bittersweet memories of a loved one acknowledging to me that her memory was failing and that she was truly grateful for my help. Likewise, the demise of Queen Lear from a broken heart, while hyper-stylised, causes me to reflect on an experience in my own family.

None of this is to say that the production intends a medically accurate picture of dementia and heartbreak. Far from it! But the portrayal of loss in old age rings so authentically true.

This production is so so camp and I'm here for it. The genderswapping and normalisation of queer identities and relationships feel so natural – like this is how the play was always intended to be. The costumes are camp and fabulous. The exploration of queer lust, love, and desire is on point. With the queerification of the script, Bernadette Richardson (Goneril) gets the absolute banger of a line "Oh, the difference of man and woman!"

For a change, here is a production where Shakespeare's language is not an inconvenience but the very skeleton around which everything is built. The actors' diction and pacing are excellent. I can hear Shakespeare's every word. The source material is highly respected, with just enough other playful dialogue thrown in to keep the audience entertained.

If (like me) you're not a Shakespeare geek, the programme is essential. It contains a scene-by-scene synopsis to help you follow along – plus some elucidating commentary from director Khalil Qualls and the obligatory cast bios. A lot of care has gone into supporting the audience to understand Shakespeare's tale, despite the passing of 419 years.

The play comprises three acts followed by an intermission and two more acts. The end of the first half is brilliantly done, eliciting yells from the audience.

Queen Lear is running on Thursday/Friday/Saturday until 4 October 2025. Tickets are available from Humanitix. It is a profit-share production, which is absolutely wonderful – allowing a new generation of talented performers and artists to be paid for their hard work.