“Is this the Promised End?”
Shakespeare’s play, adapted by Edinburgh Fringe award-winning playwright Frank Bramwell
Was Shakespeare right to kill off King Lear at the end of his play?
As our starting point we take Kent’s question at the end of the play:
“Is this the Promised End?”
Lear is on the heath, left alone to once more think about
that fateful day and everything that happened since then,
retold through the words of Shakespeare.
Now he has just one hour, one hour to decide what his future holds . . .
This fascinating opportunity takes us along Lear’s ensuing spiritual journey
following the news of Cordelia’s death, allowing us to re-examine the
original play’s themes and insights from a completely different angle.
By losing the other 29 characters of the original, this play allows us to get
inside the very thoughts and feelings of King Lear himself.
This will be playwright Frank Bramwell’s fifth sequel to Shakespeare’s plays.
The previous four (based on Romeo & Juliet, Macbeth, The Tempest, and Hamlet)
have all delighted audiences with the boldness of their approach and the
dexterity of touch. Romeo & Juliet for All Time won an award at the Edinburgh
Fringe Festival for a play “that stood head and shoulders above other plays reviewed”.
Old Clubhouse (Venue 21)
24 Jul 9:45pm to 10:45pm,
25 Jul 7:30pm to 8:30pm
Tickets £8 (Child and Conc £7)
Bookings via Opera House or email@example.com or 07720 839 612
Old Joint Stock Theatre, 4 Temple Row, B2 5NY
July 29th & 31st 7.00pm to 8pm
St.Paul’s Church, Jewellery Quarter, B3 1QZ
July 28th & 30th 7.00pm to 8pm
Tickets £8.00 Box Office 0121 200 0946
For further Press Information, photos etc please contact Frank Bramwell
07720 839 612
Extracts from reviewers and audience to Frank Bramwell’s previous Shakespeare sequels:-
“What this play is very good at doing is raising an intrigued eyebrow. It constantly suggests possible inspirations for moments of Shakespeare’s plots and even certain turns of phrase.”
“Fringe theatre should be wary of performing Shakespeare . . . what they can do, however, is reinterpret, and here we have a fine example of this. Let’s write new versed dialogue (you have to admire both the ambition and the achievement) but do not forget to re-examine some of the original words.”
“. . . when it comes to Shakespeare “re-written” I get very sceptical. But I was proven wrong as they pulled out all the stops and the audience was treated to a delicious journey through Prospero’s messed-up mind.”
“The play itself is a wonderful re-exploration of Shakespeare’s original, from a totally different perspective. The blend of Shakespeare’s words and the writer Frank Bramwell’s own words worked very well.”
“Frank Bramwell’s play, however, is that very rare bird, a genuinely unusual take on the play, which remains true to the spirit (and the words) of the original whilst making us question our assumptions about it.”
“This production was not as expected, not dreary Shakespeare but a fine twist by Bramwell. Excellent production for the fringe.”
“Intense & intriguing. A real sense of pain, anguish and torment. Writing which makes it difficult to distinguish the original and the ‘simulator’.”
“So, forget Shakespeare’s version, put your thinking cap on and prepare to be re-educated!”
“I don’t think I’ve ever seen such raw energy and physical commitment in a Fringe performance …”
“This was a complex and very clever … new look at the play. Take your sharpest wits with you, and listen carefully, but also be prepared to be carried along by the pace, skill and style of the presentation.”
“James, the venue manager, … genuinely rated your show among the top six Fringe shows he has seen in his decade working at the Festival.”
“Witnessing the differing styles of delivery of similar dialogue throughout, taught me more about performing Shakespeare than I ever thought possible. I just hope I can keep the memory in my mind always.”