Michael Moran Spotlights Tragedy of Spectacle over Substance

by Jenyth Jo

Oakland Theater Project’s innovative “King Lear” offers competing visuals and viewpoints that reflect the divisions we live in today. We can depend upon Artistic Director Michael Socrates Moran to offer new ways into classic plays, taking big risks and revealing new connections we never noticed before.

In Moran’s “Lear,” we are thrust into Sam Fehr’s sensational scenic design: a reality TV show that exposes politics as spectacle rather than substance. Live cameras deliver exciting close-ups under the dark shadow of a total eclipse, a signal that all is not well in Lear’s world.

Trouble starts when two elderly men reveal how little they know themselves or their grown children. Drunk with power, both Lear (imposing J Jha) and the naive Earl of Gloucester (convincing David Sinaiko) live in their own fantasy worlds. Both fathers are both surprised when their children turn out to be greedy and heartless.

As Lear, J Jha is at his best when cursing his daughters or comforting Poor Tom and Gloucester on the heath. Jha strikes magisterial poses in flowing black and gray robes, but we do not see him mourning the daughter he wronged. On opening night, it was difficult to hear his redemptive speech at the end.

As Gloucester’s bastard son Edmund, Dean Linnard dazzles as a hyper DJ who thrives on the chaos he creates. First, in red silk pajamas, then as a star-spangled MAGA ringleader in a UFC fight-style circus, Edmund steals center stage, other men’s wives, and his noble brother’s birthright. He cares only for himself.

In this decadent reality show, Lear demands that his three daughters give speeches testifying to their “extraordinary” devotion to him. His two eldest daughters, Goneril (assured Sarah Kasuga) and bubble-gum popping Regan (hilarious Natalie Pasquinelli), excel at performing lies at the mic for king and court.

But Lear’s beloved youngest daughter Cordelia (singer Dina Zarif) refuses to participate in the charade, so Lear disinherits and humiliates her on the spot. When Lear’s honest follower Kent (decisive Roland Morales) opposes the King’s capricious decision, Lear banishes him too. Without honest voices, Lear cannot see his own errors. Sound familiar?

Cordelia returns to sear our souls. She wanders in, singing an F# melody, the key of passionate resentment and resistance.

Paul Drescher’s original music, Denise S. Altaffer’s evocative costume designs, and Sarah Phykitt’s continuous projections provide audiovisual immersion. But the videos sometimes overpower the drama on stage, weakening the humanity of Lear’s downfall.

Director Moran pits the wise Fool (expressive Rinde Eckert) against the clown-like Edmund. As the Fool, Eckert’s distinctive singing voice mesmerizes us more than the Shakespeare poetry, earning Eckert wild applause at the end of Act I. Yet, we also laugh at Edmund’s energetic physical comedy. Shall we choose The Fool’s riddling honesty or Edmund’s confounding buffoonery?

Throughout the show, Tibetan monks perform sacred rituals at the central sandpit, reminding us of human impermanence. The monks’ Zen composure provides a jarring contrast with fur-coated screaming heiresses and disc-spinning scheming Edmund. Living in the moment takes wildly different paths.

Amidst the confusion, Edgar (talented Tyler Aguallo) takes an unerring moral position. Aguallo disguises himself as the mad beggar Poor Tom. He brilliantly feigns madness and poverty to protect his blinded father. As Poor Tom, Aguallo contorts his painted body: he reveals a mind that is honest and true.

With a single gesture, Edgar shows us how to stop the shit-show of political spectacle.

Where are our Edgars now?

“King Lear” by William Shakespeare, directed by Michael Socrates Moran, music by Paul Dresher, set design by Sam Fehr, costumes by Denise S. Altaffer, lighting by Ashley Munday, sound by Michael Kelly, choreography by Bear Graham, co-produced by Oakland Theater Project & New Performance Traditions, at Z Space, San Francisco.

Info:  oaklandtheaterproject.org – to October 11, 2026.

Cast: J Jha, Rinde Eckert, Dean Linnard, Sarah Kasuga, Natalie Pasquinelli, Dina Zarif, Rolando Morales, David Sinaiko, Tyler Aguallo, A.J. Lugue, Leo Kearney, and Joseph Alvarado.

Music composed & performed by Paul Dresher & Joel Davel.

Banner photo: Dean Linnard (Edmund) and cast. Photos by Ben Krantz Studio