Lear’s Shadow – Hull Truck Theatre

On Thursday evening, a really bizarre thing happened to me in my long theatre reviewing career.

I was at the Hull Truck Theatre to watch a one-man, one-night production – Lear’s Shadow – and, searching out my seat, E4, I found it occupied by – wait for it – an Avatar.

Urged to “get rid of it!” by my theatre buddy sister, I gingerly picked it up and deposited it on the row behind.

During the 70+-minute performance by lover of all things Shakespeare, actor Colin Hurley (who also devised the production), the Avatar presence became clearer for I noticed several more occupying red chairs on the stage – a stage adorned only with the chairs, a bench, two tables and a small suitcase, as well as Mr Hurley, of course.

A banner stating “Lie here and rest awhile” hung as a backdrop.

The thespian of more than 50 years regaled us, in un-Shakespearean lingo, that if his friends and family members couldn’t make it to one of his shows, he encouraged them to still buy a ticket and one of his home-made Avatars would have their names pinned to them and be placed in the seats they had purchased. Genius!

Lear’s Shadow tells of King Lear’s demise in Shakespeare’s play of the same name. The word “shadow” in Shakespearean times often meant a “fake”, an adjective that could describe an actor’s profession – hence Hurley’s reason for naming his show.

It’s no secret to reveal the King pops his clogs in the well-known tragedy. But what may not be so well-known is that his faithful protector, Kent, wishes him a speedy end by encouraging his liege to “break heart”.

Now in full Shakespearean flow, Hurley, dressed in grotty underwear (think Steptoe’s worn-out long johns etc) and a tatty dressing gown, aggressively opens the neck of his top, revealing Kent’s words written on his chest. Cue the dreaded audience participation as he encouraged us in the small Godber Studio, to shout out the words seen on his chest, several times, louder and louder.

I kept schtum, but there were plenty who readily obeyed.

The effort of Lear’s actions kill him and it’s then his story really takes off as he tries to make sense of his life.

The suitcase on the table acts as his memory box, from which he pulls out three scarves (representing his three daughters), a Christmas cracker paper hat (his crown), two tambourines and other musical bits and bobs, false eggshell eyes, a mask, a Comic Relief red nose, a plant mister, notebook, metronome, toy soldiers and a mobile phone, to name but a few props.

Each item plays its part in the old man’s ramblings.

He speaks to each scarf in turn as if they were his daughters, now and then handing them to audience members.

The most amusing scenes were when he turned us, the audience, into musicians by getting us to stamp our feet when instructed (I declined), while two had to bang their tambourine when signalled to by him (they, hilariously, often missed their cues), and others shook little tinkly balls to add to the racket – I mean music.

in the four-page glossy programme handed out, free, pre-show, Hurley describes himself as “an old fool of an actor sniffing around Shakespeare’s great play with an eye and an ear to spending a bit more time with a few of the words that perhaps don’t always get much space in a full-blown, pacey big production with a huge cast”.

So I guess, in a way, this one-man effort is a sort of vanity project for an actor who truly loves all things Shakespeare and wants to highlight some of the lesser known of the Bard’s writings.

And he wants to do it “just for fun” changing Shakespeare’s original context by “uncoupling” some of the words of the narratives.

The dead King’s emotional outbursts (the actor’s long, unkempt hair and beard added to the effect) have him scattering notebook pages into the air; bashing the mask’s face into the table top; adopting the softer tones of his daughters’ voices, quietly singing to himself, tossing his toy soldiers (in his addled mind, they depicted the loss of his knights) on to the floor, all the while uttering those lesser known of the Bard’s words.

Although Shakespeare’s works are not to my taste, Lear’s Shadow, to my mind, is an admirable attempt by Hurley to not only entertain his audience, but also to make sure he enjoys his own fun take on the Bard’s words.

He managed both on the night, receiving a stand-up ovation from many audience members for his efforts. And you’ll be relieved to hear that no Avatars were harmed during the making of his show.

Reviewer: Jackie Foottit

Reviewed: 15th January 2026

North West End UK Rating: