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At first Mc Kellen makes Shakespeare's tragic monarch a military hero.
Sporting medals and gold braid, he takes a startlingly blithe approach to splitting his kingdom between his three daughters, simply clipping a map into thirds with deftly wielded scissors.
It is 52 years after he made his West End debut and he is on the front page of the London Evening Standard with his co-star Patrick Stewart, with a rave five-star review of the play inside the paper. “The Standard is very good – it realises that London theatre is a big part of London’s image of itself, and so it reflects that.” He’s less effusive of the unwanted attentions of a paparazzi photographer, who starts shooting pictures unbidden of him as we sit at an outside cafe table next to Wyndham’s Theatre’s stage door.As an undergraduate, we did a musical of Love’s Labour’s Lost, called Love’s Labours.We brought it to the Lyric Hammersmith for a week and got paid £12. Later we brought a new play to the Arts Theatre that I was also paid for – how lucky I was.Yet it’s satisfyingly brisk and finds some uncomfortably visceral ways to embody the play’s imagery of a society plunged into chaos. Sinéad Cusack brings radiant authority and then a rugged abruptness to Lear’s loyal retainer Kent.Dervla Kirwan is a memorably glacial Goneril, and Kirsty Bushell’s shimmying Regan is a chilling mix of glee and twitchy malice, while rising star Tamara Lawrance has a restrained dignity as their noble-hearted, modest sister Cordelia.
Going on to a set has its own excitement, but its not as special as this,” he says, tilting his head towards the stage door.