Director’s Notes – Episode 2 of the film King Lear

Watch the scene.

            Failing to secure his fortune on the road, Edmund intends to steal his brother's inheritance and his father's authority, killing both if necessary. 

            Shakespeare presents problems in performing this scene.  In general, it needs editing, especially for Gloucester.  The point is made and made and made.  Edmund’s speech is too pat.  Everything in the scene is so convenient, so set-up.  Edmund finishes his speech just before Gloucester’s entrance.  Edgar enters after Edmund’s next long speech.

            The scene rarely works because Edmund is so certain of succeeding.  There is no sense of what is at stake here.  First, of course, is Edmund’s entire future-- either as the heir apparent or a wanderer with no prospects.  Second, we never get the sense that Edmund is putting his very life on the line.  If the scheme fails, if Gloucester doesn’t believe it, or insists on seeking Edgar out, or if Edgar is determined to seek out Gloucester, Edmund’s life is worth nil and he would have to abscond immediately – a pursued criminal.  Events must not unfold miraculously one after another.  Edmund must make things happen, but he assumes nothing.  He can’t possibly be certain how Gloucester, and then Edgar, will react.  Edgar finally flees in terror and disarray, but Edmund must sweat and earn Edgar’s flight.

Edmund is confident, charming, incredibly shrewd and calculating, but is hindered by his status as the illegitimate son. 

Jared Doreck as Edmund

He is contemptuous of his station in life, but does not act rashly out of hatred; rather he is fiendishly thoughtful in his ambition.  He is willing to risk everything to deceive his father and brother to gain power for himself, and therefore takes nothing for granted.

Edmund’s monologues are not complaints, nor are they boasts.  He is superior, but does not seek praise or admiration for his cunning, lest he hinder his success.  Instead, he meticulously works through his own thoughts, planning for every eventuality, and sarcastically expressing contempt for society in the process.  He is not plotting revenge against Gloucester for unwittingly humiliating him in the opening scene.  His decision to pursue his father’s title has been made prior to his return to the kingdom.  His father’s behavior only makes him more eager to finally carry out what he has so carefully planned for.

 There must be fits and starts in the scene.  Gloucester must not walk tamely to the slaughter. 

Jim Zidar (Gloucester) and Jared Doreck

The faster he acquiesces, the more stupid and gullible he appears – to the point of ludicrousness, farce and disbelief.  Why should an audience care about such a simplistic moron?  The scene should not be confined to one, small and limited area.  No furniture.  Gloucester should not be seated when reading the letter.  It makes it look like he anticipates something important.  It should be read on the fly (a youthful peccadillo one brother shares with the other).  Something Gloucester would appreciate from his own youthful and mischievous days.

            Scholars have asked why Edgar would write a note to Edmund thereby damning himself on paper rather than simply talking to him.  That’s not the point.  The real question is why wouldn’t this occur to Gloucester and why would he be willing to believe it?  The answers lie in Gloucester’s character: he’s credulous, suspicious (in a negative way) and cynical, and has only taken the time to know Edgar in the most superficial way.  He’s always ready to believe the worst and is always self-referential.  Here, the worst and most obvious (to him) would be his own son plotting to hasten his demise.   Edmund is well aware of this.  He knows his father because Gloucester is obviously one of those who wears his inner being on his sleeve.

            Second only to Iago in cunning and acting-prowess, Edmund commits wholeheartedly to his life or death scheme.  Just as he is he is nervous and flustered with Gloucester to arouse suspicion, Edmund is wildly fearful to bewilder Edgar. 

Jared Doreck and Eric Michael Smith (Edgar)

He replaces his usual confidence with panic that appears completely genuine to his father and brother alike, even as he betrays them both.  The unusual nature of Edmund’s behavior does not arouse suspicion; rather Edmund uses it to his advantage as he provokes concern in Edgar and draws him in to his performance.  In these parallel deception scenes, Edmund acts out of what appears to be genuine concern for each man’s well-being, convincing brother and father alike that they should be concerned for themselves, damning them both in the process.  Rather than attempting to control their thoughts and behavior, Edmund masterfully controls his own behavior and emotions, leading his prey gently but relentlessly to the slaughter.

Jared Doreck and Eric Michael Smith

            Edmund’s opening speech must be broken up into three sections.  As the letter is written in the play he is already resolved; his plans laid out.  Done that way the speech throughout is an explanation, a justification for himself, for us, whomever.  Why on earth would he waste time doing that?  No.  The speech must be a journey towards a decision or resolution.  Since it’s a journey, he should be moving.  Edmund must see Gloucester and Edgar before they see him.  He must then place himself directly in their paths.

            Edmund has worked out his scheme.  He’s heading toward his room to write the letter.  He focuses here on the ludicrous rules of inheritance.  Almost forty percent of his speech dwells on his physical attributes.  He is quite proud of his amorous talents.  He doesn’t brag about it but he enjoys this power enormously.   However, it’s been used only to seduce women, none of whom meant anything to him.  Now he is prepared to use his other outstanding talents to achieve power and status: charm, shrewdness, and incredible acting ability.

            Edmund doesn’t think: he knows.  He’s not angry.  He’s confident, determined, contemptuous.  He loves what he does.  Gloucester respects and admires Edmund a great deal for having made his own way in the world.  He loves both of his sons equally and is affectionate with Edmund.  When Gloucester enters Edmund must be alarmed, horrified, excited.  He must be terribly nervous, worried and awkward.  He shakes, he stammers.  That is what motivates Gloucester to read the letter and it must continue throughout the scene. 

Jared Doreck

            Gloucester is credulous, suspicious, and oblivious to his son’s contempt.  Right from the start Gloucester is determined and anxious to read the letter, though he hardly expects it to be consequential for himself.   He should exhibit great interest in the letter-- in no way dramatic, ominous, threatening but good humored, relishing.  Obviously he is very insistent and curious about the letter (primarily because of Edmund’s behavior), but what does he think might be in the letter?  Certainly nothing like what’s actually there.  What could be so urgently secretive between brothers?  Eliminating anything criminal, which would be ludicrous, what is left?  Youthful indiscretions, of course.  Like father, like son.  And Gloucester wouldn’t object to that at all.  From earlier scenes we gather that he would look on it glowingly.  He can’t wait to enjoy reading about the sexual indiscretions that Edgar has committed with the local ladies.  He knows Edgar to be rather prudish about women so this would be, to him, welcome news.  

            Hoping for something entertainingly salacious, Gloucester pesters Edmund for a look at the letter.  Despite his preoccupation with the division of Lear’s kingdom, he approaches Edmund playfully and does not suspect anything malicious.  Gloucester should delight in Edmund’s discomfort.  Ah ha!  Caught you and Edgar whoring.  He approves.  It’s what every young man should do.  He should even share a gesture or knowing wink with him.  Gloucester responds in degrees to Edmund’s bizarre behavior.  Curiosity and puzzlement are the key qualities.  He’s not belligerent or angry and he never yells at Edmund.  There should be humor and sarcasm and then impatience and determination.  Gloucester is deeply troubled by his son’s seeming nervousness; Edmund’s reluctance is the hook, leading Gloucester to trust him entirely.

            As he reads, Gloucester is shocked, confused, and above all hurt to think that his beloved son Edgar would so desire him dead. 

Jim Zidar and Jared Doreck

He struggles to comprehend what he has just read and hesitates to accept it as truth, but Edmund’s display of fear and reticence succeeds in driving his father toward reluctant belief.  Gloucester is furious and vengeful, yet his anger is tinged with self-doubt and the pain of betrayal.  As he continues to read, Gloucester must react as a father who is outraged and bent on capital punishment.  But with this (as with Lear although not as deeply because he lacks Lear’s depth) there must also be the tremendous hurt and sense of betrayal by a son he loved.  That will help to justify his overwhelming response to Edmund’s intrigue.  Certainly Gloucester will get no joy from killing Edgar.  To ignore this is to make Gloucester either totally unbelievable or totally worthless. 

            Edmund must be just as strong when Gloucester is speaking as he is when confronted by him.  He must control Gloucester and lead him both physically and emotionally.  His response after Gloucester exits is sarcasm and ridicule.

Jared Doreck and Eric Michael Smith

            Edmund must be so totally convincing with Gloucester and Edgar that if the audience weren’t informed already, they would totally believe him.  Taking nothing for granted he knows Edgar must be knocked off his feet.   He is never nonchalant or complacent.  He must terrify and bewilder Edgar by his alarm, nervousness, concern, fear, etc.  If not, as with Gloucester, the whole subplot becomes a farce and totally unbelievable.  Edmund must view Edgar like a condemned man.  Before he speaks a word the thrust of the scene must be established.  Edmund must keep the scene with Edgar muted lest someone hears.

           

            Edgar is utterly baffled by what Edmund tells him.  He doesn’t anticipate any trouble because there’s no reason for it.  Edgar flees without any understanding or consequential reaction to what he’s learned.  After Edgar exits Edmund relishes his success.  He feels no compunction or concern for Edgar’s credulity.  He’s excited; the journey has begun.  But there’s much to do.  He’s got his work cut out and he knows it.  He is not overly confident.

TRAILER