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Welcome to Toni Collette Online, your premiere web resource on the Australian actress and singer. Best known for her iconic performances in "Muriel's Wedding", "The
Sixth Sense", "United States of Tara" and "Hereditary", Toni Collette has emerged as one of her generation's greatest talents. In its 13th year online, his unofficial
fansite provides you with all latest news, in-depth information on all of her projects on film, television and the theatre as well as extensive archives with press
articles, photos and videos. Enjoy your stay.
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King Lear |
March 24, 1994 - April 30, 1994
| The Sydney Theatre Company
Directed by: Rodney Fisher
| Literature: William Shakespeare
| Costume Design: Jennie Tate
| Production Design: Brian Thomson
| Music: Max Lyandvert
In Britain, King Lear, in old age, chooses to retire and divide up Britain between his three daughters. However, he declares that they must first be wed before being given the land. He asks his daughters the extent of their love for him. The two oldest, Goneril and Regan, both flatter him with praise and are rewarded generously with land and marriage to the Duke of Albany and the Duke of Cornwall, respectively. Lear's youngest and most beloved daughter, Cordelia (Toni Collette), refuses to flatter her father, going only so far as to say that she loves him as much as a daughter should.
Cast: Simon Bossell (Edgar), Simon Bossell (Edgar) Michael Butcher, Peter Carroll (Earl of Gloucester), Toni Collette (Cordelia), Linda Cropper (Regan), Craig Elliot, John F. Howard, Russell Kiefel (Earl of Kent), Daniel Lapaine (Edmund), Anne Looby (Goneril), Joss McWilliam, Vince Poletto, John Stanton (King Lear), Paul Sugars, Andrew Tighe (Oswald), Brian Vriends, Frank Whitten (Fool), Robert Wilcox (Duke of Albany)
Production stills, screencaptures, on-set pictures and more
The Sydney Morning Herald, Bob Evans (March 28, 1994)
Rodney Fisher’s production of “King Lear” with John Stanton in the title role is more of a damned shame than a tragedy Lacklustre acting and awkward staging on a set that trundles about into incoherence but never madness, make it the most mediocre and heartless of the three major productions I’ve seen of the play.
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