It isn’t unusual for actors to write about the positives and pitfalls of playing the defining roles in William Shakespeare’s greatest works. Sir Anthony Sher, for example, has made a secondary literary career out of chronicling his award winning performances as Richard III, Coriolanus and Falstaff.
However, David Weston’s entertaining diary “Covering McKellen: An Understudy’s Tale” (published 2011) is almost certainly the only book ever published about not playing King Lear.
Weston understudied Sir Ian McKellen for over 135 performances over four continents and in 10 theatres with the RSC’s 2007 tour of the play. Across that time, despite suffering from a urinary infection, bouts of exhaustion and ‘Singapore Ear’, McKellen didn’t miss a performance. The only time Weston “properly” took to the stage in the role was for two “understudy runs” in front of an invited audience.
As a consequence the understudy runs were the only times the 69 year old actor had to “bare all”. McKellen and the director, Trevor Nunn, had decided in rehearsals that during the famous storm scene Lear would expose himself. Weston notes ruefully in the book that: “As ever, Sir Ian part’s far bigger than mine.”
Although he never took to the stage as Lear in front of a paying audience – Weston played a minor role, “The Gentleman”, during the run – this is a fascinating record of his time on a gruelling international theatre tour.
Weston finds the rehearsals dispiriting. Lear’s diatribes against old age cut close to the bone and learning the lines is a slow and tricky process as a result. The younger actors seem like an entirely different breed to him and he often finds himself lunching alone in a nearby greasy spoon café while they eat their salads in the grotty theatre green room.
This may make the book sound like the book is a grim affair. It isn’t. Weston is brimming with theatrical anecdotes throughout and the foreign leg of the tour – taking in Singapore, Australia, New Zealand and America – turns into a winning travelogue. There’s a lot of fun to be had as Weston treads the boards, sees the sights (although Singapore didn’t see the sight of McKellen’s member due to local edict) and catches up with an array of eccentric acquaintances he’s made over his 46 year career.
Also, as the claustrophobic pressures of a long international tour starts to cause fractures within the cast, he doesn’t shy from calling out any examples of unprofessional conduct from the younger members of the company. Weston is an actor of the Old School. The play’s the thing and he looks darkly upon his fellow company members skipping rehearsals or notes sessions for LA casting calls or other off-stage distraction.
But in the end the tour is a triumph. Back in London for the last leg tickets are exchanging hands at thousands of pounds a time and Weston allows himself a little satisfaction at being a part of a global success, however small his part might be (if you’ll pardon the expression).
And then, just like any show, it ends and the cast are scattered to the four winds. Suddenly it’s all about the next job. As the second understudy run was postponed at short notice none of the casting agents saw Weston in the title role. But still he ploughs on. After 47 years he’s used to his lot.
Such are the positives and pitfalls of not playing King Lear.
