There was one other element that stood out in Michael Grandage’s production. When Goneril complains to Regan of the increasingly alarming behaviour of their recently retired father and his riotous retinue in Act One, Scene Three – the subject of a discussion with her sister and the King later in the play – she engaged the sympathy of critics and audience alike. Both saw concern about the disturbing and errant ways of a parent, with fears that matters could only degenerate. They did and they do.
This was truly an evocation of mystic disintegration. Ripeness was all.