"Themes of truth versus lip service and of human fragility are incredibly relevant today...Doran's production does not go out of its way to force feed these themes to its audience, instead letting the text speak for itself...Every company member plays at the top of their abilities. There's that certain comforting thrill when you can feel, but are not distracted by, the skill and technique of each performer. Sher is phenomenal as Lear...Shakespeare performed and produced really well."
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"It’s no wonder it is seen as a touchstone for an older actor to conquer, and Sher gives us a Lear to remember. His descent to powerlessness is quick and merciless, but sadly his madness doesn’t resonate as solidly...The actors are all absolutely giving us the finest reading of the text possible, presenting us with a flawless reading of a benchmark play, but for all the precision, the traditional direction fail to bring us an emotional connection to the fall."
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"This 'Lear' feels like somewhat of a hybrid, torn between its traditional impulses and more modern touches. Fortunately Sher and his talented castmates keep the focus squarely on the text through their performances. Their contributions make this an affecting and ultimately rewarding production despite its occasional missteps, well worth its three-plus hour running time for the pleasure of savoring a most excellently-acted, handsome production."
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"Doran's often visually arresting if rarely shattering production...Sher as Lear seems like a tired, distracted old guy ready for retirement. As a result, there is a less vertiginous descent...Sher does have some powerful moments...Troughton is deeply moving as Gloucester, Johnstone is engaging as the soil-smeared pretend-mad Edgar, and Essiedu makes an impressive U.S. stage debut...There is enough to see – to keep one involved, if not always transfixed."
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"The director has come up with staging innovations that uses supernumeraries to play the wretched residents of Lear's kingdom and a big Plexiglas box that's probably supposed to symbolize something but, in all honesty, I can't figure out what...Nearly everyone, from Sher to the actors playing the servants, speaks the Bard's lines beautifully...But none of the performances made me feel anything even though this is perhaps the saddest of Shakespeare's plays."
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"Sher's Lear is clearly spoken, emotionally powerful, and authoritative...Humanizing the characters also comes out in Doran's treatment of Goneril and Regan...The parallel plot of Gloucester and his two sons is equally well handled...No 'King Lear' production is ever perfect, but Doran's is a splendid rendering of a great play, and Sher's Lear is every inch a king that devotees of Shakespeare won't want to miss."
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"Director Gregory Doran presents a stately and unfussy production, and Sir Sher does a fine job in this titanic and much-coveted role, but it is Oliver Johnstone as Edgar who stands out...A refreshingly diverse ensemble is strong and intense, and the visuals are striking, making for an excellent, if straight-forward production of one of Shakespeare’s most-celebrated masterpieces."
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"Sher gives an iconic performance...He is captivating...Lear is set up to be our villain, a certainly unique and fresh take by Doran...This (re)interpretation is exciting and bold. However, as the tragedy gears towards a close, the directorial vision falls apart, completely unsupported by the text...This production was not about coherence, it instead chose to embrace the madness of the play and present a 'King Lear' that was beautiful, intense, and felt new. It certainly delivers."
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