King Lear

KING LEAR by Butterfly Creek Theatre Troupe

By: Neil Brewer

Feb. 22, 2026

King Lear is believed to have been written by William Shakespeare around 1605–1606 and first performed in 1606. The story draws from several earlier sources, most notably the legendary British king Leir as recorded in Geoffrey of Monmouth’s History of The Kings Of Britain (1136) and an anonymous play titled King Leir from the late 16th century. Shakespeare transformed this old tale by adding the tragic ending, deepening the psychological complexity, and weaving in the parallel plot of Gloucester and his sons. Over the centuries, King Lear has been regarded as one of Shakespeare’s darkest and most profound tragedies, exploring themes of power, loyalty, family, madness, and the fragility of the human condition.

The play follows King Lear as he decides to divide his kingdom among his three daughters, Goneril, Regan, and Cordelia, based on how lavishly they declare their love for him. When Cordelia refuses to flatter him falsely, Lear banishes her and soon discovers that Goneril and Regan’s professed love was empty ambition. In a parallel storyline, the nobleman Gloucester is deceived by his illegitimate son Edmund and turns against his loyal son Edgar. Both Lear and Gloucester suffer the consequences of misplaced trust.

As you can see from this synopsis, it is a lot for a small theatre group to take on, so hats off to BCTT for their commitment to thirty years of Shakespearean storytelling. There is something undeniably magical about sitting under the stars with a glass of wine in hand, surrendering to a story that has endured for centuries. This year’s King Lear was an engaging and often compelling offering.

John Marwick delivered a committed and polished performance in the title role. It’s clear that an immense amount of work went into shaping Lear. His descent into madness was a particular highlight: when the noble king staggered out in his undies, it drew audible chuckles from the audience. The storm scene that followed was beautifully realised. both believable and visually striking. It became a powerful metaphor for Lear’s internal chaos and translated effectively to the open‑air setting. In a week marked by a massive storm of our own, the tempest on stage felt eerily resonant.

The new seating configuration this year was a welcome improvement, offering a wider stage picture and a greater sense of scale. Kevin Lenahan, as Edmund, delivered fierce and gripping speeches that demonstrated strong storytelling instincts; however, the choice to address the audience front‑on every time made the moments feel less impactful.

Penelope Bond brought pace and energy, particularly in the early scenes, her commitment was clear, and with more modulation the performance could gain even greater texture and nuance.

John Smyth, as the Fool, provided welcome light relief. Warm, joyful, and magnetic, his reactions were a delight, and I often found myself watching him even when he wasn’t the focus of the scene. His clarity of delivery meant every word landed, and the audience was fully engaged.

A particularly successful directorial choice was casting Suzy Cain as Gloucester. The gender shift worked seamlessly, and her portrayal, first metaphorically and later literally blind to her sons’ true natures, was convincing and poignant. Special mention, too, to her fabulous gold shoes in the opening scene.

The costumes, designed by Gael Wellington, were exceptional. With minimal set and props, the visual storytelling relied heavily on wardrobe, and Wellington’s designs brought authenticity, sophistication, and cohesion to the production.

Regan and Goneril, played by Lian Butcher and Ruth Corkill, were suitably cold and calculating. It would have been easy to tip into villainous caricature, but both actors delivered measured, chilling performances that allowed Lear’s vulnerability to resonate more deeply.

A small practical note from someone seated on the deck: a strip of carpet backstage could be worth considering. The clatter of heels on the wooden surface occasionally broke the illusion during quieter moments.

With no elaborate set and only a plain curtain as backdrop, the production relied almost entirely on performance, delivery, and character dynamics and the cast did not disappoint. Their fluent, heartfelt speeches and detailed character work made it clear just how much thought and preparation went into this ensemble. There was fighting, there was gore, and there was certainly tragedy.

A must‑see.