Nancy Meckler’s take on King Lear sure ain’t perfect. Far from it. But it’s certainly inventive, and whilst it’s perhaps over-confident in parts, it offers an innovative (if inconsistent) glance at the ultimate dysfunctional family.

We see the stage, which all the world is. Only here, it’s covered with sheeting, and is to be gradually revealed throughout the performance. Dotted about the blank canvas are a number of pretenders to the throne that is The Globe: painted vagrants having a doss as the real action is happening. Perhaps a nod to current conditions (or, indeed, our shocking attitudes towards them,) I’m not sure this device adds anything positive to the production. Lear is enough of a play on its own without adding extra layers or weaving contemporary subtleties into its fabric.

KING LEAR is getting on a bit, and is contemplating abdication or retirement or foot-putting-up or whatever you wanna…