Regan played by Sirine Saba
King Lear (2017)
Written by: Shakespeare
Returning to the Globe, Sirine plays Regan in King Lear.
Sirine trained at RADA.
Previous work for Shakespeare’s Globe includes: Holy Warriors and Anthony and Cleopatra.
Other theatre includes: Why It’s Kicking Off Everywhere (Young Vic); Another World, Sparkleshark (Royal National Theatre); The Invisible (Bush Theatre); The Winter’s Tale, A Midsummer Night’s Dream, Taming of the Shrew (Regent’s Park Open Air Theatre); Another Man’s Son (National Theatre Studio); Scorched (Old Vic Tunnels); Rough Cuts: The Spiral (Royal Court Theatre); Testing the Echo (Out Of Joint / Tricycle Theatre); Baghdad Wedding (Soho Theatre); Cinderella (Bristol Old Vic); Beauty and the Beast, Midnight’s Children, Pericles, The Tempest, Soho (RSC) and Paper Husband (Rosemary Branch Theatre).
Film includes: The Black Forest, Exhibition, Maestro and Death of the Revolution.
Television includes: Why It’s Kicking Off Everywhere, Eastenders, Unforgotten, I Am Slave, Doctors, Silent Witness, Footballer’s Wives, The Bill and Prometheus.
Radio includes: Borderland, Wide Sargasso Sea, Tumanbay, Anthony and Cleopatra, The Outsider, Reluctant Spy, My Daughter the Racist, The Waves, The Night of the Mirage and Love and Loss.
"I corpsed during the battle scene the other day, and I outwardly laughed during the battle! And I thought to myself, 'Well, it's fine because Regan could be sort of loving every second', because she’s never been able to battle before. So, I did justify it. But it keeps happening!"
With two weeks remaining, Sirine looks back on her favourite moments from the run, from live streaming to laughing.
"I think Edmund is a sort of crutch for Regan. I think she’s obsessed with him because he means power, he means security, he’s just someone else that she can lean on. I think she’s much more traumatised by the blinding than we think. And I think everything she does after that is informed by a desire to regroup, to toughen up, and to forget that hideous thing that she did..."
As performances draw to a close, Sirine talks to us about key relationships in the play, with the audience, Cornwall and Edmund.
"The last time I was here I was playing someone very front footed, very vocally present. And what’s been interesting is playing somebody whose intentions are slightly more veiled and who’s maybe playing one thing, but thinking another. And what that does to you, you do sort of bring everything down a little bit. So it’s been quite a challenge to be very vocally dynamic through that..."
As the show finds its feet, Sirine discusses the vocal demands of the character, the show and the space.
"Well, the problem with the Open Dress was that it wasn’t stormy in the sort of electric King Lear sense...it was incessant drizzle from start to finish! Nancy was very positive about that: we knew where the slippy areas were, what we had to change, what fight moves wouldn’t work..."
As performances get underway, Sirine takes us through rehearsals, run time and rain!
"I've had a lot of time Gloucester over the last couple of days, and how Regan manipulates him and how willing he is to be manipulated. You know, he's such an openhearted, benign man. He absolutely wants to fly the flag for goodness, but by doing that just trips everyone up..."
As rehearsals continue, Sirine looks back on who she and Regan have been spending the most time with.
"Nancy felt strongly that this is a society that did not value the female voice or any female power...her image is that when the bottle cork pops, all that oppression, repression, staid energy just goes boom! And you will do anything to hang onto that power that you have dreamed of since you were a baby..."
Getting to grips with the character of Regan, Sirine discusses power, oppression and politics.
"We’ve all been called into rehearsal so far, most of the time at the moment.It’s been very helpful to hear other people’s scenes because, most of the time, it’s something that you need to hear. Whatever they talk about, it’s something that you would’ve been informed about in a letter delivered by someone, at some point..."
Tackling the text in the rehearsal room, Sirine explains the world revealed onstage and offstage.
"I was feeling quite confident, until we stepped out onto the stage yesterday and I realised that nobody could hear me! I’ve been quite cocky going, 'Yes, I didn’t have any problems last time!' Then I got out there and everyone was like, 'Can’t hear you! Can’t hear you! No consonants, no breath, neck tension!'
Returning to the Globe, Sirine takes us through her previous experience with plays, the Bard, and performing at the Globe.