Soho Rep Theatre

New York Times

The New Yorker called Lear a “hot mess”. The article claims that the five person cast didn’t use any dramaturgical skills because the play is random and lacks any thought or emotion that could be pointed out. It also notes the playwright’s interest in the tangibility of bodies and is trying to grapple with the question of, if bodies are just vessels and are superficial, why are we obsessed with appearances? The article refers to the end of the play when the characters retire their official roles and use their imagination to act out a character of their choosing, “as if Lee had looked into the sun and then turned away.” It claims that Lee wanted to demonstrate that stories can unfold into new stories, but this artistic choice leaves us wondering why Lee steps back and hides behind a new story that wasn’t her own.

City Garage Theatre

LA Times

A close look at the West Coast premiere of “Lear”: The Los Angeles Times doesn’t refer to Lee’s play as a deconstruction of Shakespeare, it instead calls it a “prismatic riff” on patriarchal structures,attraction, hate, and even more. The article references the New Yorker’s critique on the play as a “hot mess” and verifies that their claim wasn’t completely out of line.

Single Carrot Theatre

DC Theatre Arts &Theater Bloom

The review commends Single Carrot Theatre for its production of Lear, a “deconstruction of the Shakespeare masterpiece.” Patricia Mitchell begins her review by explaining Lee’s outstanding reputation in the world of New York theater, but goes on to reveal that when Lear premiered in 2010, critics hated it. However, Mitchell had quite the opposite experience, describing this production as a “finely-acted, beautifully-designed, [and] profound piece of theater.” Mitchell sings high praises of the designers, saying they went “all-out” and gives detailed descriptions of the cast, who “all give outstanding performances.” Mitchell believes that “Single Carrot’s production of Lear is bold, confident, avant-garde theater” and begs readers to not go into watching it with any specific expectations; “roll with it” was a minor theme throughout this review. Mitchell certainly acknowledges that “Lee’s Lear is not an easy play” however, with her outline of “Things you need to know” and “Things to love” about this production, readers are given a more positive, insider guide on what to expect if they do decide to see Lear.

****

Reviewer praises and adores the work accomplished by everyone involved in the production of Lear at Single Carrot Theatre. Amanda N. Gunther describes this play as “a peculiar exploration of familial dysfunction threaded loosely within the confines of Shakespeare’s King Lear.” Gunther starts out by explaining how she believes that Lee’s Lear is “geared toward a millennial audience,” as she mentions certain pop culture references and goes on to express her sincerest approval of every aspect of this play. She starts off by praising the scenic, lighting, properties, and costume designers, then continues on to applaud the director, and lastly, compliment the actors and actresses on their “emotional strength” as they navigate this “bizarre” script. Even though Gunther says, “the playwright’s direct message of cherishing time spent with loved ones, does not seem overtly clear in its functionality,” she still positively describes her experience watching it as “an evening of evocative, provocative, and emotional experiences” that leaves space for many conversations following the conclusion of the play.