"King Lear and the Fool in the Storm" by William Dyce (1806–1864)

King Lear is a tragedy by William Shakespeare. The title character descends into madness after foolishly disposing of his estate between two of his three daughters based on their flattery, bringing tragic consequences for all. The play is based on the legend of Leir of Britain, a mythological pre-Roman Celtic king. It has been widely adapted for the stage and motion pictures, and the role of Lear has been coveted and played by many of the world's most accomplished actors.

The play was written between 1603 and 1606 and later revised. Shakespeare's earlier version, The True Chronicle of the History of the Life and Death of King Lear and His Three Daughters, was published in quarto in 1608. The Tragedy of King Lear, a more theatrical version, was included in the 1623 First Folio. Modern editors usually conflate the two, though some insist that each version has its individual integrity that should be preserved.^[1]

After the Restoration, the play was often revised with a happy ending for audiences who disliked its dark and depressing tone, but since the 19th century Shakespeare's original version has been regarded as one of his supreme achievements. The tragedy is particularly noted for its probing observations on the nature of human suffering and kinship. George Bernard Shaw wrote, "No man will ever write a better tragedy than Lear".^[2]

Characters[link]

Synopsis[link]

Cordelia's Portion by Ford Madox Brown

King Lear, who is elderly and wants to retire from power, decides to divide his realm among his three daughters, and offers the largest share to the one who loves him best. Goneril and Regan both proclaim in fulsome terms that they love him more than anything in the world, which pleases him. For Cordelia, there is nothing to compare her love to, nor words to properly express it; she speaks honestly but bluntly, which infuriates him. In his anger he disinherits her, and divides the kingdom between Regan and Goneril. Kent objects to this unfair treatment. Lear is further enraged by Kent's protests, and banishes him from the country. Lear summons the Duke of Burgundy and the King of France, who have both proposed marriage to Cordelia. Learning that Cordelia has been disinherited, the Duke of Burgundy withdraws his suit, but the King of France is impressed by her honesty and marries her anyway.

Lear announces he will live alternately with Goneril and Regan, and their husbands, the Dukes of Albany and Cornwall respectively. He reserves to himself a retinue of one hundred knights, to be supported by his daughters. Goneril and Regan speak privately, revealing that their declarations of love were fake, and they view Lear as an old and foolish man.

King Lear: Cordelia's Farewell by Edwin Austin Abbey

Edmund resents his illegitimate status, and plots to dispose of his legitimate older brother Edgar. He tricks their father Gloucester with a forged letter, making him think Edgar plans to usurp the estate. Kent returns from exile in disguise under the name of Caius, and Lear hires him as a servant. Lear discovers that now that Goneril has power, she no longer respects him. She orders him to behave better and reduces his retinue. Enraged, Lear departs for Regan's home. The Fool mocks Lear's misfortune. Edmund fakes an attack by Edgar, and Gloucester is completely taken in. He disinherits Edgar and proclaims him an outlaw.

Kent meets Oswald at Gloucester's home, quarrels with him, and is put in the stocks by Regan and her husband Cornwall. When Lear arrives, he objects, but Regan takes the same line as Goneril. Lear is enraged but impotent. Goneril arrives and echoes Regan. Lear yields completely to his rage. He rushes out into a storm to rant against his ungrateful daughters, accompanied by the mocking Fool. Kent later follows to protect him. Gloucester protests against Lear's mistreatment. Wandering on the heath after the storm, Lear meets Edgar, in the guise of a madman named Tom o' Bedlam. Edgar babbles madly while Lear denounces his daughters. Kent leads them all to shelter.

Edmund betrays Gloucester to Cornwall, Regan, and Goneril. He shows a letter from his father to the King of France asking for help against them; and in fact a French army has landed in Britain. Gloucester is arrested, and Cornwall gouges out his eyes. As he is doing so, a servant is overcome with rage by what he is witnessing and attacks Cornwall, mortally wounding him. Regan kills the servant, and tells Gloucester that Edmund betrayed him; then she turns him out to wander the heath too. Edgar, in his madman's guise, meets his blinded father on the heath. Gloucester, not recognising him, begs Tom to lead him to a cliff at Dover so that he may jump to his death.

Goneril meets Edmund and discovers that she finds him more attractive than her honest husband Albany, whom she regards as cowardly. Albany has developed a conscience- he is disgusted by the sisters' treatment of Lear, and the mutilation of Gloucester, and denounces Goneril. Kent leads Lear to the French army, which is accompanied by Cordelia. But Lear is half-mad and terribly embarrassed by his earlier follies. Albany leads the British army to meet the French. Regan too is attracted to Edmund, and the two sisters fall out over him. Goneril sends Oswald with love letters to Edmund and also tells Oswald to kill Gloucester if he sees him. Edgar pretends to lead Gloucester to a cliff, then changes his voice and tells Gloucester he has miraculously survived a great fall. Lear, who is now completely mad appears. Lear rants that the whole world is corrupt and runs off.

Lear and Cordelia by Ford Madox Brown

Oswald tries to kill Gloucester but is killed by Edgar. In Oswald's pocket, Edgar finds a letter from Goneril to Edmund, telling him to kill Albany and marry her. Kent and Cordelia take charge of Lear, whose madness slowly passes. Regan, Goneril, Albany, and Edmund meet with their forces. Albany insists that they fight the French invaders but not harm Lear or Cordelia. The two sisters lust for Edmund, who has inadvertantly made promises to both. He considers the dilemma and plots the deaths of Albany, Lear, and Cordelia. Edgar gives Goneril's letter to Albany. The armies meet in battle, the British defeat the French, and Lear and Cordelia are captured. Edmund sends them off with secret orders for execution.

The victorious British leaders meet, and Regan now declares she will marry Edmund. But Albany exposes the intrigues of Edmund and Goneril and proclaims Edmund a traitor. Regan suddenly collapses, dead. It emerges that Goneril slipped poison into her food. Edmund defies Albany, who calls for a trial by combat. Edgar appears in his own clothes, and challenges Edmund to a duel. He wounds him fatally, though he does not die immediately. Albany confronts Goneril with the letter which was intended to be his death warrant; she flees in shame and rage. Edgar reveals himself. Gloucester now realises Edmund deceived him, and is overjoyed to be ruenited with Edgar. But sadly, their reunion is brief- the shock of all he has been through finally overwhelms Gloucester, and he dies offstage.

Offstage, Goneril, with all her evil plans thwarted, commits suicide. The dying Edmund has seen the error of his ways, and tries to save Lear and Cordelia: however, he is too late. Cordelia has already been killed. Lear, however, has survived- he killed his daughter's murderer and escaped. Lear carries Cordelia's corpse in his arms. Lear now immediately recognizes Kent. Albany urges Lear to resume his throne, but like Gloucester, the trials Lear has been through have finally overwhelmed him, and he dies. Albany offers to share power between Kent and Edgar. Kent declines, with implications that he himself is not long for this world. Whether he intends to commit suicide out of his great regard for Lear, or feels he is going to die in the same way as Lear and Gloucester, is debatable. At the end, either Albany (in the Quarto version) or Edgar (in the Folio version) has the final speech, with the implication that he will now become king^[5][6]

Sources[link]

Shakespeare's play is based on various accounts of the semi-legendary Celtic figure Leir of Britain, whose name may derive from the Celtic god Lir/Llŷr. Shakespeare's most important source is probably the second edition of The Chronicles of England, Scotlande, and Irelande by Raphael Holinshed, published in 1587. Holinshed himself found the story in the earlier Historia Regum Britanniae by Geoffrey of Monmouth, that was written in the 12th century. Edmund Spenser's The Faerie Queene, published 1590, also contains a character named Cordelia, who also dies from hanging, as in King Lear.

Other possible sources are the anonymous play King Leir (published in 1605); A Mirror for Magistrates (1574), by John Higgins; The Malcontent (1604), by John Marston; The London Prodigal (1605); Arcadia (1580–1590), by Sir Philip Sidney, from which Shakespeare took the main outline of the Gloucester subplot; Montaigne's Essays, which were translated into English by John Florio in 1603; An Historical Description of Iland of Britaine, by William Harrison; Remaines Concerning Britaine, by William Camden (1606); Albion's England, by William Warner, (1589); and A Declaration of egregious Popish Impostures, by Samuel Harsnett (1603), which provided some of the language used by Edgar while he feigns madness. King Lear is also a literary variant of a common fairy tale, Love Like Salt, Aarne-Thompson type 923, in which a father rejects his youngest daughter for a statement of her love that does not please him.^[7]

The source of the subplot involving Gloucester, Edgar, and Edmund is a tale in Philip Sidney's Countess of Pembroke's Arcadia, with a blind Paphlagonian king and his two sons, Leonatus and Plexitrus.^[8]

Changes from source material[link]

Besides the subplot involving the Earl of Gloucester and his sons, the principal innovation Shakespeare made to this story was the death of Cordelia and Lear at the end. During the eighteenth and nineteenth centuries, this tragic ending was much criticised, and alternative versions were written and performed, in which the leading characters survived and Edgar and Cordelia were married (despite the fact that Cordelia was already married to the King of France).

Date and text[link]

Title page of the first quarto edition, published in 1608

Although an exact date of composition cannot be given, many academic editors of the play date King Lear between 1603 and 1606. The latest it could have been written is 1606, because the Stationers' Register notes a performance on 26 December 1606. The 1603 date originates from words in Edgar's speeches which may derive from Samuel Harsnett's Declaration of Egregious Popish Impostures (1603).^[9] In his Arden edition, R.A. Foakes argues for a date of 1605–6, because one of Shakespeare's sources, The True Chronicle History of King Leir, was not published until 1605; close correspondences between that play and Shakespeare's suggest that he may have been working from a text (rather than from recollections of a performance).^[10] Conversely, Frank Kermode, in the Riverside Shakespeare, considers the publication of Leir to have been a response to performances of Shakespeare's already-written play; noting a sonnet by William Strachey that may have verbal resemblances with Lear, Kermode concludes that "1604-5 seems the best compromise".^[11]

The modern text of King Lear derives from three sources: two quartos, published in 1608 (Q₁) and 1619 (Q₂)^[12] respectively, and the version in the First Folio of 1623 (F₁). The differences between these versions are significant. Q₁ contains 285 lines not in F₁; F₁ contains around 100 lines not in Q₁. Also, at least a thousand individual words are changed between the two texts, each text has a completely different style of punctuation, and about half the verse lines in the F₁ are either printed as prose or differently divided in the Q₁. The early editors, beginning with Alexander Pope, simply conflated the two texts, creating the modern version that has remained nearly universal for centuries. The conflated version is born from the presumption that Shakespeare wrote only one original manuscript, now unfortunately lost, and that the Quarto and Folio versions are distortions of that original.

As early as 1931, Madeleine Doran suggested that the two texts had basically different provenances, and that these differences between them were critically interesting. This argument, however, was not widely discussed until the late 1970s, when it was revived, principally by Michael Warren and Gary Taylor. Their thesis, while controversial, has gained significant acceptance. It posits, essentially, that the Quarto derives from something close to Shakespeare's foul papers, and the Folio is drawn in some way from a promptbook, prepared for production by Shakespeare's company or someone else. In short, Q₁ is "authorial"; F₁ is "theatrical." In criticism, the rise of "revision criticism" has been part of the pronounced trend away from mid-century formalism. The New Cambridge Shakespeare has published separate editions of Q and F; the most recent Pelican Shakespeare edition contains both the 1608 Quarto and the 1623 Folio text as well as a conflated version; the New Arden edition edited by R.A. Foakes is not the only recent edition to offer the traditional conflated text.

Analysis and criticism[link]

The words “nature,” “natural” and “unnatural” occur over forty times in the play. There was a debate in Shakespeare’s time about what nature really was like, a debate that pervades the play and finds symbolic expression in Lear’s changing attitude to Thunder. John F. Danby, in his Shakespeare’s Doctrine of Nature – A Study of King Lear (1949), argues that Lear dramatises, among other things, the current meanings of “Nature.” There are two strongly contrasting views of Nature in the play: that of the Lear party (Lear, Gloucester, Albany, Kent), exemplifying the philosophy of Bacon and Hooker, and that of the Edmund party (Edmund, Cornwall, Goneril, Regan), akin to the views later formulated by Hobbes. Along with the two views of Nature, Lear contains two views of Reason, brought out in Gloucester and Edmund’s speeches on astrology (1.2). The rationality of the Edmund party is one with which a modern audience more readily identifies. But the Edmund party carries bold rationalism to such extremes that it becomes madness: a madness-in-reason, the ironic counterpart of Lear’s “reason in madness” (IV.6.190) and the Fool’s wisdom-in-folly. This betrayal of reason lies behind the play’s later emphasis on feeling.

The two Natures and the two Reasons imply two societies. Edmund is the New Man, a member of an age of competition, suspicion, glory, in contrast with the older society which has come down from the Middle Ages, with its belief in co-operation, reasonable decency, and respect for the whole as greater than the part. King Lear is thus an allegory. The older society, that of the medieval vision, with its doting king, falls into error, and is threatened by the new machiavellianism; it is regenerated and saved by a vision of a new order, embodied in the king’s rejected daughter. Cordelia, in the allegorical scheme, is threefold: a person; an ethical principle (love); and a community. Nevertheless, Shakespeare’s understanding of the New Man is so extensive as to amount almost to sympathy. Edmund is the last great expression in Shakespeare of that side of Renaissance individualism – the energy, the emancipation, the courage – which has made a positive contribution to the heritage of the West. “He embodies something vital which a final synthesis must reaffirm. But he makes an absolute claim which Shakespeare will not support. It is right for man to feel, as Edmund does, that society exists for man, not man for society. It is not right to assert the kind of man Edmund would erect to this supremacy.”^[13]

The play offers an alternative to the feudal-machiavellian polarity, an alternative foreshadowed in France’s speech (I.1.245–256), in Lear and Gloucester’s prayers (III.4. 28–36; IV.1.61–66), and in the figure of Cordelia. Until the decent society is achieved, we are meant to take as role-model (though qualified by Shakespearean ironies) Edgar, "the machiavel of goodness,"^[14] endurance, courage and "ripeness."^[15]

Since there are no literal mothers in King Lear, Coppélia Kahn^[16] provides a psychoanalytic interpretation of the “maternal subtext” found in the play. According to Kahn, Lear in his old age regresses to an infantile disposition, and now seeks for a love that is normally satisfied by a mothering woman. Her characterisation of Lear is that of a child being mothered, but without real mothers, his children become the daughter-mother figures. Lear’s contest of love serves as the binding agreement; his daughters will get their inheritance provided they care for him, especially Cordelia, whose “kind nursery” he will greatly depend on. Her refusal to love him more than a husband is often interpreted as a resistance from incest, but Kahn also inserts the image of a rejecting mother. The situation is now a reversal of parent-child roles, in which Lear’s madness is essentially a childlike rage from being deprived of maternal care. Even when Lear and Cordelia are captured together, this madness persists as Lear envisions a nursery in prison, where Cordelia’s sole existence is for him. However, it is Cordelia’s death that ultimately ends his fantasy of a daughter-mother, as the play ends with only male characters left.

Sigmund Freud asserted that Cordelia symbolises Death. Therefore, when the play begins with Lear rejecting his daughter, it can be interpreted as him rejecting death; Lear is unwilling to face the finitude of his being. The play’s poignant ending scene, wherein Lear carries the body of his beloved Cordelia, was of great importance to Freud. In this scene, she causes in Lear a realisation of his finitude, or as Freud put it, she causes him to “make friends with the necessity of dying”.^[17] It is logical to infer that Shakespeare had special intentions with Cordelia’s death, as he was the only writer to have Cordelia killed (in the version by the anonymous author, she continues to live happily, and in Holinshed’s, she restores her father and succeeds him).^{[citation needed]}

A study by psychologist Rachel E. Goldsmith and others suggests that Lear's temporary amnesia of his daughters' betrayal is consistent with psychogenic amnesia.^[18]

Points of debate[link]

Opening[link]

Goneril and Regan by Edwin Austin Abbey

The play opens with a formal ceremony in which King Lear seemingly divides his kingdom among his daughters according to their avowals of their love for him. If this were a test, it would make most sense for Lear to hear out all three daughters before starting to divide the kingdom. David Ball posits an alternative interpretation.^[19] He bases this analysis on the conversation between Kent and Gloucester which are the first seven lines of the play and serve to help the audience understand the context of the drama about to unfold.

Ball interprets this statement to mean that the court already knows how the King is going to divide his kingdom; that the outcome of the ceremony is already decided and publicly known.

Alternatively, it has been suggested that the King's "contest" has more to do with his control over the unmarried Cordelia.^[20]

Tragic ending[link]

King Lear mourns Cordelia's death, James Barry, 1786–1788

The adaptations that Shakespeare made to the legend of King Lear to produce his tragic version are quite telling of the effect they would have had on his contemporary audience. The story of King Lear was familiar to the average English Renaissance theatre goer (as were many of Shakespeare's sources) and any discrepancies between versions would have been immediately apparent.

Shakespeare's tragic conclusion gains its sting from such a discrepancy. The traditional legend and all adaptations preceding Shakespeare's have it that after Lear is restored to the throne, he remains there until "made ripe for death" (Edmund Spenser). Cordelia, her sisters also dead, takes the throne as rightful heir, but after a few years is overthrown and imprisoned by nephews, leading to her suicide.

Shakespeare shocks his audience by bringing the worn and haggard Lear onto the stage, carrying his dead youngest daughter. He taunts them with the possibility that she may live yet with Lear saying, "This feather stirs; she lives!" But Cordelia's death is soon confirmed.

This was indeed too bleak for some to take, even many years later. King Lear was at first unsuccessful on the Restoration stage, and it was only with Nahum Tate's happy-ending version of 1681 that it became part of the repertory. Tate's Lear, where Lear survives and triumphs, and Edgar and Cordelia get married, held the stage until 1838. Samuel Johnson endorsed the use of Tate's version in his edition of Shakespeare's plays (1765): "Cordelia, from the time of Tate, has always retired with victory and felicity. And, if my sensations could add anything to the general suffrage, I might relate that I was many years ago so shocked by Cordelia's death, that I know not whether I ever endured to read again the last scenes of the play till I undertook to revise them as an editor."

Cordelia and the Fool[link]

The Fool, important in the first half of the play, disappears without explanation in the third act.

A popular explanation for the Fool's disappearance is that the actor playing the Fool also played Cordelia. The two characters are never on stage simultaneously, and dual-roling was common in Shakespeare's time. However, the Fool would have been played by Robert Armin, the regular clown actor of Shakespeare's company, who is unlikely to have been cast as a tragic heroine. Even so, the play does ask us to at least compare the two; Lear chides Cordelia for foolishness in Act I; chides himself as equal in folly in Act V; and as he holds the dead Cordelia in the final scene, says, "And my poor fool is hanged" ("fool" could be taken as either a direct reference to the Fool, or an affectionate reference to Cordelia herself, or it could refer to both the Fool and Cordelia).

Legacy[link]

Performance history[link]

17th and 18th centuries[link]

Shakespeare wrote the role of Lear for his company's chief tragedian, Richard Burbage, for whom Shakespeare was incrementally writing older characters as their careers progressed.^[21] It has been speculated either that the role of the Fool was written for the company's clown Robert Armin, or that it was written for performance by one of the company's boys, doubling the role of Cordelia.^[22] Only one specific performance of the play during Shakespeare's lifetime is known: before the court of King James I at Whitehall on 26 December 1606.^[23] Its original performances would have been at The Globe, where there were no sets in the modern sense, and characters would have signified their roles visually with props and costumes: Lear's costume, for example, would have changed in the course of the play as his status diminished: commencing in crown and regalia; then as a huntsman; raging bareheaded in the storm scene; and finally crowned with flowers in parody of his original status.^[24]

All theatres were closed down by the Puritan government on 6 September 1642. Upon the restoration of the monarchy in 1660, two patent companies (the King's Company and the Duke's Company) were established, and the existing theatrical repertoire divided between them.^[25] And from the restoration until the mid nineteenth-century the performance history of King Lear is not the story of Shakespeare's version, but instead of The History of King Lear, a popular adaptation by Nahum Tate. Its most significant deviations from Shakespeare were to omit the Fool entirely, to introduce a happy ending in which Lear and Cordelia survive, and to develop a love story between Cordelia and Edgar (two characters who never interact in Shakespeare) which ends with their marriage.^[26] Like most Restoration adapters of Shakespeare, Tate saw himself as improving the crude works of Shakespeare's untutored genius, saying of his task that he found the tragedy: "a heap of jewels, unstrung and unpolish't; yet so dazzling in their disorder, that I soon perceiv'd I had seiz'd a treasure."^[27] Other changes included giving Cordelia a confidante named Arante, bringing the play closer to contemporary notions of poetic justice, and added titilating material such as amorous encounters between Edmund and both Regan and Goneril, and a scene in which Edgar rescues Cordelia from Edmund's attempted kidnap and rape.^[28] The play ends with a celebration of "the King's blest Restauration", an obvious reference to Charles II.^[29]

In the early 18th Century, some writers began to express objections to this (and other) Restoration adaptations of Shakespeare. For example, in The Spectator on 16 April 1711 Joseph Addison wrote "King Lear is an admirable Tragedy ... as Shakespeare wrote it; but as it is reformed according to the chymerical Notion of poetical Justice in my humble Opinion it hath lost half its Beauty." Yet on the stage, Tate's version prevailed.^[30]

David Garrick was the first actor-manager to begin to cut back on elements of Tate's adaptation in favour of Shakespeare's original: he retained Tate's major changes, including the happy ending, but removed many of Tate's lines, including Edgar's closing speech.^[31] He also reduced the prominence of the Edgar-Cordelia love story, in order to focus more on the relationship between Lear and his daughters.^[32] His version had a powerful emotional impact: Lear driven to madness by his daughters was (in the words of one spectator, Arthur Murphy) "the finest tragic distress ever seen on any stage" and, in contrast, the devotion shown to Lear by Cordelia (a mix of Shakespeare's, Tate's and Garrick's contributions to the part) moved the audience to tears.^[33]

The first professional performances of King Lear in North America are likely to have been those of the Hallam Company (later the American Company) which arrived in Virginia in 1752 and who counted the play among their repertoire by the time of their departure for Jamaica in 1774.^[34]

19th century[link]

Charles Lamb established the Romantics' attitude to King Lear in his 1811 essay "On the Tragedies of Shakespeare, considered with reference to their fitness for stage representation" where he says that the play "is essentially impossible to be represented on the stage", preferring to experience it in the study. In the theatre, he argues, "to see Lear acted, to see an old man tottering about the stage with a walking-stick, turned out of doors by his daughters on a rainy night, has nothing in it but what is painful and disgusting" yet "while we read it, we see not Lear but we are Lear, – we are in his mind, we are sustained by a granduer which baffles the malice of daughters and storms."^[35]

King Lear was politically controversial during the period of George III's madness, and as a result was not performed at all in the two professional theatres of London from 1811 to 1820: but was then the subject of major productions in both, within three months of his death.^[36] The nineteenth century saw the gradual reintroduction of Shakespeare's text to displace Tate's version. Like Garrick before him, John Philip Kemble had introduced more of Shakespeare's text, while still preserving the three main elements of Tate's version: the love story, the omission of the Fool, and the happy ending. Edmund Kean played King Lear with its tragic ending in 1823, but failed and reverted to Tate's crowd-pleaser after only three performances.^[37] At last in 1838 William Macready at Covent Garden performed Shakespeare's version, freed from Tate's adaptions.^[38] The restored character of the Fool was played by an actress, Priscilla Horton, as, in the words of one spectator, "a fragile, hectic, beautiful-faced, half-idiot-looking boy."^[39] And Helen Faucit's final appearance as Cordelia, dead in her father's arms, became one of the most iconic of Victorian images.^[40] John Forster, writing in the Examiner on 14 February 1838, expressed the hope that "Mr Macready's success has banished that disgrace [Tate's version] from the stage for ever."^[41] But even this version was not close to Shakespeare's: the nineteenth-century actor-managers heavily cut Shakespeare's scripts: ending scenes on big "curtain effects" and reducing or eliminating supporting roles to give greater prominence to the star.^[42] One of Macready's innovations – the use of Stonehenge-like structures on stage to indicate an ancient setting – proved enduring on stage into the twentieth century, and can be seen in the 1983 television version starring Laurence Olivier.^[43]

In 1843, the Act for Regulating the Theatres came into force, bringing an end to the monopolies of the two existing companies and, by doing so, increased the number of theatres in London.^[44] At the same time, the fashion in theatre was "pictorial": valuing visual specatcle above plot or characterisation and often required lengthy (and time consuming) scene changes.^[45] For example, Henry Irving's 1892 King Lear offered spectacles such as Lear's death beneath a cliff at Dover, his face lit by the red glow of a setting sun; at the expense of cutting 46% of the text, including the blinding of Gloucester.^[46] But Irving's production clearly evoked strong emotions: one spectator, Gordon Crosse, wrote of the first entrance of Lear, "a striking figure with masses of white hair. He is leaning on a huge scabbarded sword which he raises with a wild cry in answer to the shouted greeting of his guards. His gait, his looks, his gestures, all reveal the noble, imperious mind already degenerating into senile irritability under the coming shocks of grief and age."^[47]

The importance of pictorialism to Irving, and to other theatre professionals of the Victorian era, is exemplified by the fact that Irving had used Ford Madox Brown's painting Cordelia’s Portion as the inspiration for the look of his production, and that the artist himself was brought in to provide sketches for the settings of other scenes.^[48] A reaction against pictorialism came with the rise of reconstructive movement, believers in a simple style of staging more similar to that which would have pertained in renaissance theatres, whose chief early exponent was the actor-manager William Poel. Poel was influenced by a performance of King Lear directed by Jocza Savits at the Hoftheater in Munich in 1890, set on an apron stage with a three-tier Globe-like reconstruction theatre as its backdrop. Poel would use this same configuration for his own Shakespearean performances in 1893.^[49]

20th and 21st centuries[link]

The character of Lear in the nineteenth century was often that of a frail old man from the opening scene, but Lears of the twentieth century often began the play as strong men displaying regal authority, including John Gielgud, Donald Wolfit and Donald Sinden.^[50] Cordelia, also, evolved in the twentieth century: earlier Cordelias had often been praised for being sweet, innocent and modest, but twentieth-century Cordelias were often portrayed as war leaders. For example, Peggy Ashcroft, at the RST in 1950, played the role in a breastplate and carrying a sword.^[51] Similarly, the Fool evolved through the course of the century, with portrayals often deriving from the music hall or circus tradition.^[52]

By mid-century, the actor-manager tradition had declined, to be replaced by a structure where the major theatre companies employed professional directors as auteurs. The last of the great actor-managers, Donald Wolfit, played Lear on a Stonehenge-like set in 1944 and was praised by James Agate as "the greatest piece of Shakespearean acting since I have been privileged to write for the Sunday Times".^[53] Wolfit supposedly drank eight bottles of Guinness in the course of each performance.^[54]

At Stratford-upon-Avon in 1962, Peter Brook (who would later film the play with the same Lear, Paul Scofield) set the action simply, against a huge, empty white stage. The effect of the scene where Lear and Gloucester meet, two tiny figures in rags in the midst of this emptiness, was said (by the scholar Roger Warren) to catch "both the human pathos ... and the universal scale ... of the scene."^[55]

In 1974, Buzz Goodbody directed Lear, a deliberately abbreviated title for Shakespeare's text, as the inaugural production of the RSC's studio theatre The Other Place. The performance was conceived as a chamber piece, the small intimate space and proximity to the audience enabled detailed psychological acting, which was performed with simple sets and in modern dress.^[56] Peter Holland has speculated that this company/directoral decision – namely choosing to present Shakespeare in a small venue for artistic reasons when a larger venue was available – may at the time have been unprecedented.^[56]

Brook's vision of the play proved influential, and directors have gone further in presenting Lear as (in the words of R. A. Foakes) "a pathetic senior citizen trapped in a violent and hostile environment". When John Wood took the role in 1990, he played the later scenes in clothes that looked like cast-offs, inviting deliberate parallels with the uncared-for in modern Western societies.^[57] Indeed, modern productions of Shakespeare's plays often reflect the world in which they are performed as much as the world for which they were written: and the Moscow theatre scene in 1994 provided an example, when two very different productions of the play (those by Sergei Zhonovach and Alexei Borodin), very different from one another in their style and outlook, were both reflections on the break-up of the Soviet Union.^[58]

Like other Shakespearean tragedies, King Lear has proved amenable to conversion into other theatrical traditions. In 1989, David McRuvie and Iyyamkode Sreedharan adapted the play then translated it to Malayalam, for performance in Kerala in the Kathakali tradition – which itself developed around 1600, contemporary with Shakespeare's writing. The show later went on tour, and in 2000 played at Shakespeare's Globe, completing (in Anthony Dawson's words) "a kind of symbolic circle".^[59] Perhaps even more radical was Ong Keng Sen's 1997 adaptation of King Lear, which featured six actors each performing in a separate Asian acting tradition and in their own separate languages. A pivotal moment occurred when the Jingju performer playing Older Daughter (a conflation of Goneril and Regan) stabbed the Noh-performed Lear whose "falling pine" deadfall, straight face-forward into the stage, astonished the audience, in what Yong Li Lan describes as a "triumph through the moving power of noh performance at the very moment of his character's defeat".^[60]

A number of women have played male roles in King Lear; most commonly the Fool, who has been played (among others) by Judy Davis and Emma Thompson but also, significantly, Lear himself, played by Marianne Hoppe in 1990 and by Kathryn Hunter in 1996-7.^[61]

In 2012, Peter Hinton directed an all-First Nations production of King Lear at the National Arts Centre in Ottawa, Ontario, Canada, with the setting changed to an Algonquin nation in the 17th century.^[62] The cast included August Schellenberg as Lear, Billy Merasty as Gloucester, Tantoo Cardinal as Regan, Jani Lauzon in a dual role as Cordelia and the Fool, and Craig Lauzon as Kent.^[62]

Screen[link]

The first film of King Lear was a five minute German version made around 1905, which has not survived.^[63] The oldest extant version is a ten-minute studio-based version from 1909 by Vitagraph, which made (in Luke McKernan's words) the "ill-advised" decision to attempt to cram in as much of the plot as possible.^[64] Two silent versions, both titled Re Lear, were made in Italy in 1910. Of these, the version by director Gerolamo Lo Savio was filmed on location, and it dropped the Edgar sub-plot and used frequent intertitling to make the plot easier to follow than its Vitagraph predecessor.^[65] A contemporary setting was used for Louis Feuillade's 1911 French adaptation Le Roi Lear Au Village, and in 1914 in America, Ernest Warde expanded the story to an hour, including spectacles such as a final battle scene.^[66]

The only two significant big-screen performances of Shakespeare's text date from the early 1970s: Grigori Kozintsev was working on his Korol Lir^[67] at the same time as Peter Brook was filming his King Lear.^[68] Brook's film starkly divided the critics: Pauline Kael said "I didn't just dislike this production, I hated it!" and suggested the alternative title "Night of the Living Dead".^[69] Yet Robert Hatch in The Nation thought it as "excellent a filming of the play as one can expect" and Vincent Canby in The New York Times called it "an exalting Lear, full of exquisite terror".^[70] The film drew heavily on the ideas of Jan Kott, in particular his observation that King Lear was the precursor of absurdist theatre: in particular, the film has parallels with Beckett's Endgame.^[71] Critics who dislike the film particularly draw attention to its bleak nature from its opening: complaining that the world of the play does not deteriorate with Lear's suffering, but commences dark, colourless and wintry, leaving (in Douglas Brode's words) "Lear, the land, and us with nowhere to go".^[72] Cruelty pervades the film, which does not distinguish between the violence of ostensibly good and evil characters, presenting both savagely.^[73] Paul Scofield, as Lear, eschews sentimentality: this demanding old man with a coterie of unruly knights provokes audience sympathy for the daughters in the early scenes, and his presentation explicitly rejects the tradition (as Daniel Rosenthal describes it) of playing Lear as "poor old white-haired patriarch".^[74]

By contrast, Korol Lir has been praised, for example by critic Anikst Alexander, for the "serious, deeply thoughtful" even "philosophical approach" of director Grigori Kozintsev and writer Boris Pasternak. Making a thinly-veiled criticism of Brook in the process, Alexander praised the fact that there were "no attempts at sensationalism, no efforts to 'modernise' Shakespeare by introducing Freudian themes, Existentialist ideas, eroticism, or sexual perversion. [Kozintsev]... has simply made a film of Shakespeare's tragedy."^[75] Dmitri Shostakovich provided an epic score, its motifs including an (increasingly ironic) trumpet fanfare for Lear, and a five-bar "Call to Death" marking each character's demise.^[76] Kozintzev described his vision of the film as an ensemble piece: with Lear, played by a dynamic Jüri Järvet, as first among equals in a cast of fully developed characters.^[77] The film highlights Lear's role as king by including his people throughout the film on a scale no stage production could emulate, charting the central character's decline from their god to their helpless equal; his final descent into madness marked by his realisation that he has negelected the 'poor naked wretches'.^[78] As the film progresses, ruthless characters – Goneril, Regan, Edmund – increasingly appear isolated in shots, in contrast to the director's focus, throughout the film, on masses of human beings.^[79]

Jonathan Miller has twice directed Michael Hordern in the title role for English television, the first for the BBC's Play of the Month in 1975 and the second for the BBC Television Shakespeare in 1982. Horden received mixed reviews, and was considered a bold choice due to his history of taking much lighter roles.^[80] Also for English television, Laurence Olivier took the role in a 1983 TV production for Granada Television. It was his last screen appearance in a Shakespearean role, its pathos deriving in part from the physical frailty of Olivier the actor.^[81]

In 1985 a major screen adaptation of the play appeared: Ran, directed by Akira Kurosawa. At the time the most expensive Japanese film ever made, it tells the story of Hidetora, a fictional sixteenth-century Japanese warlord, whose attempt to divide his kingdom among his three sons leads to an estrangement with the youngest, and ultimately most loyal, of them, and eventually to civil war.^[82] In contrast to the cold drab greys of Brook and Kozintsev, Kurosawa's film is full of vibrant colour: external scenes in yellows, blues and greens, interiors in browns and ambers, and Emi Wada's Oscar-winning colour-coded costumes for each family member's soldiers.^[83] Hidetora has a back-story: a violent and ruthless rise to power, and the film portrays contrasting victims: the virtuous characters Sue and Tsurumaru who are able to forgive, and the vengeful Kaede (Mieko Harada), Hidetora's daughter-in-law and the film's Lady Macbeth-like villain.^[84]

The play's plot, or major elements from it, have frequently been used by film makers. Joseph Mankiewicz' 1949 House of Strangers is often considered a Lear adaptation, but the parallels are more striking in its 1954 Western remake Broken Lance in which a cattle baron played by Spencer Tracy tyrannises over his three sons, of whom only the youngest, Joe, played by Robert Wagner, remains loyal.^[85] A scene in which a character is threatened with blinding in the manner of Gloucester forms the climax of the 1973 parody horror Theatre of Blood.^[86] Comic use is made of Sir's inability to physically carry any actress cast as Cordelia opposite his Lear in the 1983 film of the stage play The Dresser.^[87] John Boorman's 1990 Where the Heart Is features a father who disinherits his three spoilt children.^[88] Francis Ford Coppola deliberately incorporated elements of Lear in his 1990 sequel The Godfather Part III, including Michael Corleone's attempt to retire from crime throwing his domain into anarchy, and most obviously the death of his daughter in his arms. Parallels have also been drawn between Andy Garcia's character Vincent and both Edgar and Edmund, and between Talia Shire's character Connie and Kaede in Ran.^[89]

In 1997, Jocelyn Moorhouse directed A Thousand Acres, based on Jane Smiley's Pulitzer Prize-winning novel, set in 1990s Iowa.^[90] The film is described, by scholar Tony Howard, as the first adaptation to confront the play's disturbing sexual dimensions.^[89] The story is told from the viewpoint of the elder two daughters, Ginny played by Jessica Lange and Rose played by Michelle Pfeiffer, who were sexually abused by their father as teenagers. Their younger sister Caroline, played by Jennifer Jason Leigh had escaped this fate and is ultimately the only one to remain loyal.^[91]

The play was again adapted to the world of gangsters in Don Boyd's 2001 My Kingdom, a version which differs from all others in commencing with the Lear character, Sandeman, played by Richard Harris, in a loving relationship with his wife. But her violent death marks the start of an increasingly bleak and violent chain of events (influenced by co-writer Nick Davies' documentary book Dark Heart) which in spite of the director's denial that the film had "serious parallels" to Shakespeare's play, actually mirror aspects of its plot closely.^[92] Unlike Shakespeare's Lear, but like Hidetora and Sandeman, the central character of Uli Edel's 2002 American TV adaptation King of Texas, John Lear played by Patrick Stewart, has a back-story centred on his violent rise to power. Daniel Rosenthal comments that the film was able, by reason of having been commissioned by the cable channel TNT, to include a bleaker and more violent ending than would have been possible on the national networks.^[93] 2003's Channel 4-commissioned two-parter Second Generation set the story in the world of Asian manufacturing and music in England.^[94]

See also[link]

• Illegitimacy in fiction
• Shakespearian fool
• Ran (film)

References[link]

Footnotes[link]

Secondary sources[link]

External links[link]

Wikisource has original text related to this article: The Tragedy of King Lear

Wikiquote has a collection of quotations related to: King Lear

Wikimedia Commons has media related to: King Lear

• King Lear – plaintext file at Project Gutenberg.
• King Lear – Searchable, online version of the text.
• BBC audio file. In Our Time, BBC Radio 4 discussion.
• Photos of a production of King Lear
• King Lear study guide, themes, quotes, character analyses, multimedia, teaching guide
• Joyce Carol Oates on King Lear

v t e William Shakespeare's King Lear Characters King Lear Cordelia Goneril Regan Edmund Adaptations The History of King Lear Lear A Thousand Acres Ran King of Texas King Lear in film 1953 TV film 1971 USSR film 1971 UK film 1983 TV drama 1987 film

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Sir Ian McKellen CBE CH
McKellen at the premiere of The Return of the King in Wellington, New Zealand, 1 December 2003
Born	Ian Murray McKellen (1939-05-25) 25 May 1939 (age 73) Burnley, Lancashire, England
Alma mater	Cambridge University
Occupation	Actor
Years active	1959–present
Partner	Brian Taylor (1964–1972) Sean Mathias (1978–1988)
Website
http://www.mckellen.com/

Sir Ian Murray McKellen, CH CBE (born 25 May 1939) is an English actor. He has won multiple Laurence Olivier Awards, a Tony Award, two Academy Award nominations, and five Emmy Award nominations. His work has spanned genres from Shakespearean and modern theatre to popular fantasy and science fiction. He is known for film roles such as Gandalf in the Lord of the Rings film trilogy, Magneto in the X-Men films, and as Sir Leigh Teabing in The Da Vinci Code.

McKellen was made a Commander of the Order of the British Empire in 1979, was knighted in 1991 for services to the performing arts,^[1] and was made a Companion of Honour for services to drama and to equality, in the 2008 New Year Honours.^[2]

Early life[link]

McKellen was born in Burnley, Lancashire, England, though he spent most of his early life in Wigan. Born shortly before the outbreak of World War II, the experience had some lasting impact on him. In response to an interview question when an interviewer remarked that he seemed quite calm in the aftermath of the 11 September attacks, he said: "Well, darling, you forget — I slept under a steel plate until I was four years old."^[3]

McKellen's father, Denis Murray McKellen, a civil engineer, was a lay preacher, and both of his grandfathers were preachers. At the time of Ian's birth, his parents already had a five-year-old daughter, Jean. His home environment was strongly Christian, but non-orthodox. "My upbringing was of low nonconformist Christians who felt that you led the Christian life in part by behaving in a Christian manner to everybody you met."^[3] When he was 12, his mother, Margery Lois (née Sutcliffe), died; his father died when he was 24. Of his coming out of the closet to his stepmother, Gladys McKellen, who was a member of the Religious Society of Friends, he said, "Not only was she not fazed, but as a member of a society which declared its indifference to people's sexuality years back, I think she was just glad for my sake that I wasn't lying anymore."^[3]

McKellen attended Bolton School (boys division),^[4] of which he is still a supporter, attending regularly to talk to pupils. McKellen's acting career started at Bolton Little Theatre, of which he is now the patron.^[5] An early fascination with the theatre was encouraged by his parents, who took him on a family outing to Peter Pan at the Opera House in Manchester when he was three.^{[citation needed]} When he was nine, his main Christmas present was a wood and bakelite, fold-away Victorian theatre from Pollocks Toy Theatres, with cardboard scenery and wires to push on the cut-outs of Cinderella and of Laurence Olivier's Hamlet.^{[citation needed]} His sister took him to his first Shakespeare play, Twelfth Night,^[6] by the amateurs of Wigan's Little Theatre, shortly followed by their Macbeth and Wigan High School for Girls' production of A Midsummer Night's Dream with music by Mendelssohn and with the role of Bottom played by Jean McKellen. (Jean continued to act, direct, and produce amateur theatre up to her death.)^[7]

He won a scholarship to St Catharine's College, Cambridge, when he was eighteen, where he developed an attraction to Derek Jacobi.^[8] He has characterised it as "a passion that was undeclared and unrequited".^[3]

Career[link]

Theatre[link]

While at Cambridge McKellen was a member of the Marlowe Society, appearing in Henry IV (as Shallow) alongside Trevor Nunn and Jacobi (March 1959), Cymbeline (as Posthumus, opposite Margaret Drabble as Imogen) and Doctor Faustus.^[9][10][11] His first professional appearance was in 1961 at the Nottingham Playhouse, as Roper in A Man for All Seasons, although an audio recording of the Marlowe Society's Cymbeline had gone on commercial sale as part of the Argo Shakespeare series.^[9][11] After four years in regional repertory theatres he made his first West End appearance, in A Scent of Flowers, regarded as a "notable success".^[9] In 1965 he was a member of Laurence Olivier's National Theatre Company at the Old Vic, which led to rôles at the Chichester Festival. In the 1970s and 1980s McKellen became a well-known figure in British theatre, performing frequently at the Royal Shakespeare Company and the Royal National Theatre, where he played several leading Shakespearean roles, including the titular part in Macbeth (which he had first assayed for Trevor Nunn in a "gripping...out of the ordinary" production, with Judi Dench, at Stratford in 1976), and Iago in Othello, in award-winning productions directed by Nunn.^[9] Both of these productions were adapted into television films, also directed by Nunn.

In 2007 he returned to the Royal Shakespeare Company, in productions of King Lear and The Seagull, both directed by Trevor Nunn. In 2009 he appeared in a very popular revival of Waiting for Godot at London's Haymarket Theatre, directed by Sean Mathias and playing opposite Patrick Stewart.^[12][13]

McKellen is also President and Patron of the Little Theatre Guild of Great Britain, an association of amateur theatre organisations throughout the UK.^[14]

Popular success[link]

McKellen had taken film roles throughout his career — beginning in 1969 with his role of George Matthews in A Touch of Love, but it was not until the 1990s that he became more widely recognised in this medium, through several roles in blockbuster Hollywood films.^[8]

In 1993, McKellen had a supporting role as a South African tycoon in the critically acclaimed^[15] Six Degrees of Separation, in which he starred with Stockard Channing, Donald Sutherland, and Will Smith. In the same year, he appeared in minor roles in the television miniseries Tales of the City (based on the novel by his friend Armistead Maupin) and the film Last Action Hero, in which he played Death. The same year, McKellen appeared in the television film And the Band Played On, about the discovery of the AIDS virus, for which McKellen won a CableACE Award for Supporting Actor in a Movie or Miniseries and was nominated for the Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie.^[16]

In 1995, he played the title role in the critical hit Richard III,^[17] which transported the setting into an alternative 1930s wherein England is ruled by Fascists.^[18] McKellen co-produced and co-wrote the film, adapting the play for the screen based on a stage production of Shakespeare's play directed by Richard Eyre for the Royal National Theatre, in which McKellen had appeared.^[8][18] In McKellen's role as executive producer he returned his £50,000 fee in order to complete the filming of the final battle.^[19] In his review of the film, Hal Hinson of The Washington Post, called McKellen's performance a "lethally flamboyant incarnation" and said his "florid mastery ... dominates everything".^[20] His performance in the title role garnered best actor nominations for the BAFTA Award and Golden Globe, and won the European Film Award for Best Actor. His screenplay was nominated for the BAFTA Award for Best Adapted Screenplay.

His breakthrough role among mainstream American audiences^{[citation needed]} came with the modestly acclaimed^[21] Apt Pupil, based on a story by Stephen King. McKellen portrayed an old Nazi officer, living under a false name in the U.S., who was befriended by a curious teenager (Brad Renfro) who threatened to expose him unless he told his story in detail. His casting was based partly on his performance in Cold Comfort Farm, seen by Apt Pupil director Bryan Singer, despite the BBC's refusal to release it in cinemas.^[19] He was subsequently nominated for the Academy Award for Best Actor for his role in the 1998 film Gods and Monsters, wherein he played James Whale, the director of Show Boat (1936) and Frankenstein.^[8]

He reteamed with Bryan Singer to play the comic book supervillain Magneto in X-Men and its sequels X2: X-Men United and X-Men: The Last Stand.^[8] It was while filming X-Men that he was cast as the wizard Gandalf in Peter Jackson's three-film adaptation of The Lord of the Rings (consisting of The Fellowship of the Ring, The Two Towers, and The Return of the King). McKellen received honors from the Screen Actors Guild for Best Supporting Actor in a Motion Picture for his work in The Fellowship of the Ring and was also nominated for the Academy Award for Best Supporting Actor for the same role. He also voiced Gandalf in the video game adaptions of the film trilogy as well as in The Lord of the Rings: The Third Age.^[22] On January 10, 2011 it was officially confirmed that Mckellen would reprise the role of Gandalf in the film adaptation of The Hobbit.^[23]

McKellen in 2010

On 16 March 2002, he was the host on Saturday Night Live. In 2003, McKellen made a guest appearance as himself on the American cartoon show The Simpsons, in a special British-themed episode entitled "The Regina Monologues", along with Tony Blair and J. K. Rowling. In April and May 2005, he played the role of Mel Hutchwright in Granada Television's long running soap opera, Coronation Street, fulfilling a lifelong ambition. He is also known for his voicework, having narrated Richard Bell's film Eighteen, as a grandfather who leaves his World War II memoirs on audiocassette for his teenage grandson.

McKellen has appeared in limited release films, such as Emile (which was shot in a few days during the X2 shoot),^{[citation needed]} Neverwas and Asylum. He appeared as Sir Leigh Teabing in The Da Vinci Code. During a 17 May 2006 interview on The Today Show with the Da Vinci Code cast and director, Matt Lauer posed a question to the group about how they would have felt if the film had borne a prominent disclaimer that it is a work of fiction, as some religious groups wanted.^[24] McKellen responded, "I've often thought the Bible should have a disclaimer in the front saying 'This is fiction.' I mean, walking on water? It takes... an act of faith. And I have faith in this movie — not that it's true, not that it's factual, but that it's a jolly good story." He continued, "And I think audiences are clever enough and bright enough to separate out fact and fiction, and discuss the thing when they've seen it".^[24] McKellen appeared in the 2006 series of Ricky Gervais' comedy series Extras, where he played himself directing Gervais' character Andy Millman in a play about gay lovers. McKellen received a 2007 Primetime Emmy Award for Outstanding Guest Actor - Comedy Series nomination for his performance. He also appeared in the 2009 remake of the 1967 The Prisoner, where he played the character Number Two.^[25]

Personal life[link]

McKellen and his first serious partner, Brian Taylor, a history teacher from Bolton, began their relationship in 1964.^[26] It lasted for eight years, ending in 1972. They lived in London, where McKellen continued to pursue his career as an actor. For over a decade, he has lived in a five-story Victorian conversion in Narrow Street, Limehouse.^[27] In 1978 he met his second partner, Sean Mathias, at the Edinburgh Festival. This relationship lasted until 1988. According to Mathias, the ten-year love affair was tempestuous, with conflicts over McKellen's success in acting versus Mathias' somewhat less-successful career.^{[citation needed]} Mathias and McKellen remained friends, and Mathias directed McKellen in Waiting For Godot at the Theatre Royal Haymarket in 2009. The pair have entered into business partnership with Evgeny Lebedev purchasing the lease on The Grapes public house in Narrow Street,^[28] close to McKellen's home.^[29]

A friend of Ian Charleson and a great admirer of his work, McKellen contributed a chapter to the 1990 book, For Ian Charleson: A Tribute.^[30]

In the late 1980s, McKellen lost his appetite for meat except for fish, and so mostly excludes it from his diet.^[31]

Activism[link]

LGBT rights campaigning[link]

Sir Ian Murray McKellen at Manchester Pride 2010

McKellen at Europride 2003 in Manchester.

While McKellen had made his sexual orientation known to his fellow actors early on in his stage career, it was not until 1988 that he came out to the general public, in a programme on BBC Radio 3.^[32] The context that prompted McKellen's decision — overriding any concerns about a possible negative effect on his career — was that the controversial Section 28 of the Local Government Bill, simply known as Section 28, was under consideration in the British Parliament.^[8] McKellen has stated that he was influenced in his decision by the advice and support of his friends, among them noted gay author Armistead Maupin.^[8]

In 2003, during an appearance on Have I Got News For You, McKellen claimed that when he visited Michael Howard, then Environment Secretary (responsible for local government), in 1988 to lobby against Section 28, Howard refused to change his position but did ask him to leave an autograph for his children. McKellen agreed, but wrote, "Fuck off, I'm gay."^[33] McKellen also described Howard's junior ministers, the Conservatives David Wilshire and Dame Jill Knight, who were the architects of Section 28, as the 'ugly sisters' of a political pantomime.^[34]

Section 28, which proposed to prohibit local authorities from "promoting homosexuality" 'as a kind of pretended family relationship', was ambiguous and the actual impact of the amendment was uncertain.^[35] McKellen became active in fighting the proposed law, and declared himself gay on a BBC Radio programme where he debated the subject of Section 28 with the conservative journalist Peregrine Worsthorne.^[8] He has said of this period: "My own participating in that campaign was a focus for people [to] take comfort that if Ian McKellen was on board for this, perhaps it would be all right for other people to be as well, gay and straight".^[3] Section 28 was, however, enacted and remained on the statute books until 2003.

McKellen has continued to be very active in LGBT rights efforts. In a statement on his website regarding his activism, the actor commented that:

I have been reluctant to lobby on other issues I most care about – nuclear weapons (against), religion (atheist), capital punishment (anti), AIDS (fund-raiser) because I never want to be forever spouting, diluting the impact of addressing my most urgent concern; legal and social equality for gay people worldwide.^[36]

McKellen is a co-founder of Stonewall, a LGBT rights lobby group in the United Kingdom, named after the Stonewall riots.^[37] McKellen is also patron of LGBT History Month,^[38] Pride London, GAY-GLOS, The Lesbian & Gay Foundation,^[39] and FFLAG where he appears in their video "Parents Talking".^[40]

In 1994, at the closing ceremony of the Gay Games, he briefly took the stage to address the crowd, saying, "I'm Sir Ian McKellen, but you can call me Serena" (this nickname, originally given to him by Stephen Fry, had been circulating within the gay community since McKellen's knighthood was conferred).^[3] In 2002, he attended the Academy Awards with his then-boyfriend, New Zealander Nick Cuthell.

In 2006, McKellen spoke at the pre-launch of the 2007 LGBT History Month in the UK, lending his support to the organisation and its founder, Sue Sanders.^[38] In 2007 McKellen became a patron of The Albert Kennedy Trust, an organisation that provides support to young, homeless and troubled LGBT people.^[37]

In 2006, McKellen became a patron of Oxford Pride.^[41] At the time he said:

I have been to many Pride occasions across the World, from being Grand Marshall in San Francisco to the first ever gay march in Johannesburg in post-apartheid South Africa. Wherever gay people gather publicly to celebrate their sense of community, there are two important results. First, onlookers can be impressed by our confidence and determination to be ourselves and, second, gay people, of whatever age, can be comforted by the occasion to take first steps towards coming out and leaving the closet forever behind. I send my love to all members of Oxford Pride, their sponsors and supporters, of which I am proud to be one.^{[cite this quote]}

McKellen has taken his activism internationally, where it caused a major stir in Singapore. Invited to do an interview on a morning show, he shocked the interviewer by asking if they could recommend him a gay bar. The program immediately ended.^[42] In December 2008, he was named in Out's annual Out 100 list.^[43]

In May 2011, McKellen called Sergey Sobyanin, the Mayor of Moscow, a "coward" when he refused to allow gay parades in the city.^[44]

Charity work[link]

In April 2010, along with Brian Cox and Eleanor Bron, appeared in a series of TV advertisements to support Age UK, the charity recently formed from the merger of Age Concern and Help the Aged. All three actors gave their time free of charge.^[45]

Isaac Theatre Royal, Christchurch[link]

While in New Zealand filming The Hobbit in 2012, McKellen announced a special show 'Shakespeare, Tolkien, ITR and You!', with proceeds from the two shows going to help save the Isaac Theatre Royal, which suffered extensive damage during the 2011 Christchurch earthquake. McKellen said he opted to help save the building as it was the last theatre he played in New Zealand (Waiting For Godot in 2010) and the locals' love for it made it a place worth contributing to^[46].

Selected stage and screen credits[link]

Stage[link]

The hands of McKellen on a 1999 Gods and Monsters plaque in London's Leicester Square.

• Much Ado About Nothing, Royal National Theatre, Old Vic, London, 1965
• Trelawny of the 'Wells', National Theatre, London & Chichester Festival, 1965
• The Promise, West End; Broadway, 1967
• Edward II (in title role), Edinburgh Festival & West End, 1969
• Hamlet (title role), UK/European Tour, 1971
• 'Tis Pity She's a Whore, UK Tour, 1972
• Dr Faustus (title role), Royal Shakespeare Company, Edinburgh Festival & Aldwych Theatre (London), 1974
• King John, RSC, 1975
• Romeo and Juliet (as Romeo), RSC, Stratford-upon-Avon & London, 1976
• The Winter's Tale, RSC, Stratford-upon-Avon, 1976
• Macbeth (title role), RSC, Stratford-upon-Avon & Young Vic (London), 1976–1977
• The Alchemist, RSC, Stratford-upon-Avon & London, 1977
• Every Good Boy Deserves Favour, RSC, Barbican Arts Centre (London), 1977
• Three Sisters, RSC, UK Tour, 1978
• Bent, (as Max) Royal Court and Criterion, London, 1979
• Amadeus (as Salieri), Broadway, 1980
• Coriolanus (title role), National Theatre, 1984
• Wild Honey, National Theatre, 1984 (& Broadway, 1986)
• The Cherry Orchard (as Lopakhin), National Theatre, 1985
• The Duchess of Malfi, National Theatre, 1985
• The Real Inspector Hound, National Theatre, London & Paris, 1985
• Othello (as Iago), RSC, London & Stratford-upon-Avon, 1989
• Richard III (title role), National Theatre, world tour, 1990 & US tour, 1992
• Uncle Vanya (title role), National Theatre, 1992
• Peter Pan (as Mr. Darling/Captain Hook), National Theatre, 1997
• An Enemy of the People, National Theatre, 1997 & Ahmanson Theatre (Los Angeles), 1998
• Present Laughter, West Yorkshire Playhouse (Leeds, England), 1998
• Dance of Death, at the Broadhurst Theatre (New York) in 2001. At the Lyric Theatre (London, England) in 2003^[47]
• Aladdin, (as Widow Twankie) Old Vic, 2004 & 2005
• The Cut, Donmar Warehouse, 2006
• King Lear by William Shakespeare, (as Lear), Courtyard Theatre, Stratford-upon-Avon, 2007; New Zealand, 2007; New York (Brooklyn Academy of Music), 2007, Minneapolis, 2007, New London Theatre (West End), 2007–8
• The Seagull by Anton Chekhov, (as Sorin), Courtyard Theatre, Stratford-upon-Avon, 2007; New York (Brooklyn Academy of Music), 2007 Minneapolis, 2007, New London Theatre (West End), 2007–8
• Waiting for Godot by Samuel Beckett, (as Estragon), Theatre Royal Haymarket, London, 2009 and 2010; Comedy Theatre, Melbourne, Australia, 2010^[48] and Fugard Theatre, Cape Town, South Africa, 2010
• The Syndicate by Eduardo de Filippo, Chichester Festival, 2011

Filmography[link]

Music[link]

• Vampire in the music video "Heart" by Pet Shop Boys
• The man who's "falling out of reach" in the music video "Falling Out of Reach" by Guillemots
• Appears on the Scissor Sisters track "Invisible Light", from their 2010 album "Night Work", reciting a passage regarding the "Invisible Light" of the title.^[49]

Audiobooks[link]

• Audiobook narrator of Michelle Paver's Chronicles of Ancient Darkness series Wolf Brother, Spirit Walker, Soul Eater, Outcast, "Oath Breaker", "Ghost Hunter" As well as a version of Homer's The Odyssey.

Other work[link]

A recording of McKellen's voice is heard before performances at the Royal Festival Hall, reminding patrons to ensure their mobile phones and watch alarms are switched off, and to keep coughing to a minimum.^[50][51]

Awards and honours[link]

Honours[link]

He was made a Commander of the Order of the British Empire (CBE) in 1979, and knighted in 1991 New Year Honours for his outstanding work and contributions to theatre.^[52][53][54] In the 2008 New Year Honours he was made a Companion of Honour (CH) for services to drama and to equality.^[2]

Honourary degrees[link]

In 2001 McKellen was awarded an honorary Doctor of Arts degree from the University of Bath.^[55] In 2004 McKellen was conferred an honourary Doctor of Letters by Lancaster University. He was praised for his diversity of roles, his "deeply considered dramatic technique" and his Lancastrian roots.^[56]

Awards[link]

• 1981: New York Tony Award for Best Actor in a Play, for Amadeus
• 1984: London Olivier Award for Best Actor in a Revival, for Wild Honey
• 1984: London Evening Standard Award for Best Actor, for Coriolanus
• 1989: London Evening Standard Award for Best Actor, for Othello
• 1990: London Olivier Award for Best Actor, for Richard III
• 1998: Back Stage West Garland Awards, for his one-man show A Knight Out in Los Angeles
• 2004: Manila, Philippines Pride International Film Festival's Lifetime Achievement & Distinction Award
• 2007: Annie Award for Best Voice Acting in an Animated Feature Production, for Flushed Away
• In May 2007, he was named, by the Independent on Sunday Pink List, the fifth most influential gay person in Britain, down from the 1st place the previous year.^[57]
• 2009: San Sebastián International Film Festival Donostia Award in recognition of an extensive professional career.^[58]
• 2010: Empire Awards 2010: Empire Icon Award^[59]

References[link]

External links[link]

Wikimedia Commons has media related to: Ian McKellen

• McKellen's home page
• Ian McKellen at the Internet Movie Database
• Ian McKellen at the Internet Broadway Database
• Ian McKellen at Yahoo! Movies
• Ian McKellen at the British Film Institute's Screenonline

Interviews, blogs and clips[link]

• Good Morning (TVNZ) interview with McKellen - Waiting for Godot/The Hobbit
• Interview and photoshoot factory-publishing.com
• McKellen's personal pages on the Lord of the Rings movie, with a diary and answers to questions by fans
• Interview at www.sci-fi-online.com
• Podcast interview
• Interview at AfterElton.com
• Extended BBC interviews with McKellen as he prepares to play King Lear
• "A conversation with Sir Ian": Interactive video interview with McKellen on Shakespeare, Richard III and Richard's opening speech
• Emma Brockes, Every inch a king (interview) The Guardian, November 2007
• Ian McKellen: A Free Man The Telegraph, 15 December 2008