King Lear’s Hubris and Madness Re-examined for Modern Times (SoIN to Shakespeare)
King Lear
By William Shakespeare
Directed by Martin French
Review by Loraine Lawson
Entire contents are copyright © 2026 Loraine Lawson. All rights reserved.
Martin French directed the Southern Indiana Touring Shakespeare Company’s production of King Lear. In the event’s press release, he proposes:
“King Lear, of all Shakespeare’s works, is the one that has become most relevant to our contemporary world. It is hard not to see parallels with real life in the play, not just here, but everywhere in the world.”
It’s an interesting thesis, although at first, it struck me as odd: After all, King Lear gives away his kingdom to two of his three daughters willingly. It’s hard to think of a modern king or dictator who has done so, and it’s a far cry from what presidents do.
But revisiting the Southern Indiana Touring Shakespeare Company’s production Friday night, I saw his point: Lear, played by Sean Childress, doesn’t so much give away his kingdom as let his daughters hold it while he retains his power.
He gives away land, yes, but only after Goneril, played by Kate Bariteau, and Regan, played by Emily Vergason, fawn over him to win their titles and deeds. His third and more honest daughter, Cordelia, played by Caisey Cole, refuses to feed his ego. She’s cast out by Lear to fend for herself, which fortunately for her, means she marries the King of France, played by Jazmin Smith.
But look closer and you realize that Lear doesn’t truly give away his power. In his hubris, he retains his 100 troops — no small number in pre-Roman Britain — all of whom Goneril and Regan must accommodate and feed. On top of that, he mistreats their servants. True, their servants are villains, but nobody likes their henchmen mistreated by someone else.
If you’ve never had the joy of seeing Shakespeare performed by actors more vested in expressing the meaning to the words than the iambic pentameter, then you’re in for a treat. These actors brought expression to the old text, which modern audiences can sometimes find difficult to access.
As a whole, the play seemed stripped down to focus the audience on the words and the drama of the play. The scene was simply two chairs and what space the actors could use among the audience. The costumes were reminiscent of the 1940s or 50s, and as the play progressed, they became more stripped down until the actors were in their slips or other undergarments, all but Cordelia’s splattered with dirt, grime and blood.
Childress delivered a deliciously bold and dramatically mad Lear to the stage. Joe Monroe brought to life the proud and pitiful Gloucester, whose eyes are removed by Regan, providing an expressive performance that was just a joy to watch.
Fløren K gave a heart-wrenching rendition of Edgar, Gloucester’s son who is unfairly cast as the villain. Edgar’s evil half-brother, Edmond, was played with great panache by Fallon Crowley.
This production of King Lear provides a thoughtful revisit of an old favorite. Treat yourself and seek out this 2 hour, 25 minute production next weekend. Tickets are free.
The Corydon production is 7 p.m. Friday, at Harrison County Arts, 113 Beaver St.. Doors open at 6:30 p.m.
There is also a Saturday, matinee performance in Charleston at 2 p.m., with doors opening at 1:30, at 999 Water Street.
King Lear SoIn to Shakespeare
Friday November 6th at 7pm - St. Pauls Parish House, New Albany
Saturday November 7th at 7pm - St. Pauls Parish House, New Albany
Friday November 13th at 7pm - Harrison County Arts, Corydon
Saturday November 14th at 2pm - Arts & Enrichment Center, Charlestown
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