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Year of the Mad King: The Lear Diaries
In 1982, rising actor Antony Sher played the Fool to Michael Gambon's King in the Royal Shakespeare Company's production of King Lear. Shortly after, he came back to Stratford to play Richard III – a breakthrough performance that would transform his career, winning him the Olivier and Evening Standard Awards for Best Actor. Sher's record of the making of this historic theatrical event, Year of the King, has become a classic of theatre writing, a unique insight into the creation of a landmark Shakespearean performance.
More than thirty years later, Antony Sher returned to Lear, this time in the title role, for the 2016 RSC production directed by Gregory Doran. Sher's performance was acclaimed by the Telegraph as 'a crowning achievement in a major career', and the show transferred from Stratford to London's Barbican. Once again, he kept a diary, capturing every step of his personal and creative journey to opening night.
Year of the Mad The Lear Diaries is Sher's account of researching, rehearsing and performing what is arguably Shakespeare's most challenging role, known as the Everest of Acting. His strikingly honest, illuminating and witty commentary provides an intimate, first-hand look at the development of his Lear and of the production as a whole. Also included is a selection of his paintings and sketches, many reproduced in full colour.
Like his Year of the King and Year of the Fat The Falstaff Diaries, this book, Year of the Mad King, offers a fascinating perspective on the process of one of the greatest Shakespearean actors of his generation.
'One of the finest books I have ever read on the process of acting' Time Out on Year of the King
'Antony Sher's insider journal is a brilliant exploded view of a great actor at work – modest and gifted, self-centred and selfless – a genius capable of transporting us backstage' Craig Raine, The Spectator (Books of the Year) on Year of the Fat Knight
More than thirty years later, Antony Sher returned to Lear, this time in the title role, for the 2016 RSC production directed by Gregory Doran. Sher's performance was acclaimed by the Telegraph as 'a crowning achievement in a major career', and the show transferred from Stratford to London's Barbican. Once again, he kept a diary, capturing every step of his personal and creative journey to opening night.
Year of the Mad The Lear Diaries is Sher's account of researching, rehearsing and performing what is arguably Shakespeare's most challenging role, known as the Everest of Acting. His strikingly honest, illuminating and witty commentary provides an intimate, first-hand look at the development of his Lear and of the production as a whole. Also included is a selection of his paintings and sketches, many reproduced in full colour.
Like his Year of the King and Year of the Fat The Falstaff Diaries, this book, Year of the Mad King, offers a fascinating perspective on the process of one of the greatest Shakespearean actors of his generation.
'One of the finest books I have ever read on the process of acting' Time Out on Year of the King
'Antony Sher's insider journal is a brilliant exploded view of a great actor at work – modest and gifted, self-centred and selfless – a genius capable of transporting us backstage' Craig Raine, The Spectator (Books of the Year) on Year of the Fat Knight
318 pages, Kindle Edition
First published March 5, 2018
5 people are currently reading
158 people want to read
About the author
Antony Sher
25 books24 followersSir Antony Sher, born in Cape Town, South Africa on June 14th, 1949, was an actor, memoirist, playwright, painter, and novelist, best known for his performances of Shakespearean characters like Richard III, Macbeth, and Sir John Falstaff. He has performed in plays by such writers as Molière, Chekhov, Brecht, Arthur Miller, Mike Leigh, and Harvey Fierstein, and has portrayed historical figures as diverse as Primo Levi and Adolf Hitler, Benjamin Disraeli and Ringo Starr. In 1985 he received the Laurence Olivier Award for his work as Richard III, and again in 1997 for Stanley.
His writings include novels, plays, and memoirs, including Year of the King: An Actor's Diary and Sketchbook, his account of playing Richard III for the Royal Shakespeare Company, called by actor Simon Callow "the most wonderfully authentic account of the experience of creating a performance."
He was appointed a Knight Commander of the Order of the British Empire in 2000.
In 2005, Sher and his partner – director Gregory Doran, with whom he frequently collaborates professionally – became one of the first gay couples to enter into a civil partnership in the UK.
His writings include novels, plays, and memoirs, including Year of the King: An Actor's Diary and Sketchbook, his account of playing Richard III for the Royal Shakespeare Company, called by actor Simon Callow "the most wonderfully authentic account of the experience of creating a performance."
He was appointed a Knight Commander of the Order of the British Empire in 2000.
In 2005, Sher and his partner – director Gregory Doran, with whom he frequently collaborates professionally – became one of the first gay couples to enter into a civil partnership in the UK.
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Displaying 1 - 20 of 20 reviews
June 22, 2022
I was given this by a friend who knows how much I love Shakespeare but I had never read any of Sher's previous theatrical diaries so I didn't know what to expect. I also ever got to see Sher's performance of Lear, even the RSC Live cinema showing, but the reviews at the time and this book charting its genesis makes me wish I had. Lear is, in many ways the "curtain call" of the great English speaking stage actors, and it was good he got to perform it before his untimely death late last year. That death added even greater poignancy to my reading of this diary, which in itself is shot through with a sense of mortality, not just from the play but the death and illness of family and friends around him at this time. Add to that the subsequent death of Cicely Berry, the vocal coach at the RSC who was clearly such a formative influence to him and others of his and later generations of actors and the sense of mortality is even more profound (and that is without considering covid since.) There is a knowing, self-mocking "prima donna" sense to many of the entries here, but it is lacking in the bitchiness that pervades too much theatre... particularly given that in this year Sher's Lear was having to compare with Glenda Jackson, Ian McEwan and Michael Pennington all performing the role in different productions. Indeed there is a real generosity and woarmth to many of those who have previously scaled this Shakespearean Everest, and his insights have given me a new appreciation of previous performances and productions that I did not enjoy (eg. Derek Jacobi's touring production from the Donmar, and the old English Shakespeare Company's production with Anthony Quayle, which he doesn't refer to but which clearly attempted, and failed, to do some of the same things that Sher/Doran's production was looking to do), perhaps not making me warm to them but at least understanding better what they were trying to achieve. I was sad to finish the book, even more given that there will be no more performances from him or diaries about them, but I will now go back and read the previous diaries.
May 8, 2018
With the wonderful Year of the King(Richard III) through Woza Shakespeare (Titus Andronicus), Year of the Fat Knight (Henry IV Pts I &II) and now this, (King Lear), I have been reading Anthony Sher's accounts of playing great Shakespearian roles for over 30 years. It has been a fascinating journey, one which Sher sadly suggests may be close.
The format of all of these books has always been the same. A diary of the author preparing for his part interspersed with his marvellous paintings and drawings of cast members, friends and family. Each time however, Sher uses this format to explore something different. Year of the King was, is, very much the work of a young actor working on his breakthrough role. It is almost entirely focussed on the architecture of the role and the production and is a thrilling journey. The theme of Woza Shakespeare on the other hand is the relevance of the bard's words in post apartheid South Africa.
The Year of the Mad King is possibly the most satisfying since the first. I won't say enjoyable, because this doesn't have the same sense of joy. It has enjoyable things in it, but this is a much more melancholy work. As Sher explores the character of a King's declining powers and onset of mortality, he is all too aware of these things in his own life. His own failing physical strength, and death and illness amongst his family and friends all reflect and contribute to his eventual performance. This is a very moving work, in which it almost painful to read about the author raging about the lack of medical facilities at the RSC while also preparing to rage against the storm. The irascible old man has a presence both on and off stage.
As ever for anyone with an interest in theatre, the process of building a production is fascinating, as actors, set, music, costume, effects all come together. It is also interesting to read how Sir Anthony's approach to his art has developed over 30 + years. I was struck in the first book how he was worried about the impact on fellow cast members if he arrived at the first rehearsal already knowing his lines. Here that it all out of the window as he starts the process of learning twelve months ahead of the production while still playing Falstaff. In one entertaining section, he describes the fat knight and mad king vying for supremacy in his head.
Sir Anthony Sher is a genius on stage, he is also a genius at describing the process of getting there.
The format of all of these books has always been the same. A diary of the author preparing for his part interspersed with his marvellous paintings and drawings of cast members, friends and family. Each time however, Sher uses this format to explore something different. Year of the King was, is, very much the work of a young actor working on his breakthrough role. It is almost entirely focussed on the architecture of the role and the production and is a thrilling journey. The theme of Woza Shakespeare on the other hand is the relevance of the bard's words in post apartheid South Africa.
The Year of the Mad King is possibly the most satisfying since the first. I won't say enjoyable, because this doesn't have the same sense of joy. It has enjoyable things in it, but this is a much more melancholy work. As Sher explores the character of a King's declining powers and onset of mortality, he is all too aware of these things in his own life. His own failing physical strength, and death and illness amongst his family and friends all reflect and contribute to his eventual performance. This is a very moving work, in which it almost painful to read about the author raging about the lack of medical facilities at the RSC while also preparing to rage against the storm. The irascible old man has a presence both on and off stage.
As ever for anyone with an interest in theatre, the process of building a production is fascinating, as actors, set, music, costume, effects all come together. It is also interesting to read how Sir Anthony's approach to his art has developed over 30 + years. I was struck in the first book how he was worried about the impact on fellow cast members if he arrived at the first rehearsal already knowing his lines. Here that it all out of the window as he starts the process of learning twelve months ahead of the production while still playing Falstaff. In one entertaining section, he describes the fat knight and mad king vying for supremacy in his head.
Sir Anthony Sher is a genius on stage, he is also a genius at describing the process of getting there.
April 1, 2018
Antony Sher’s diaries, charting his exploration of some of Shakespeare’s most iconic roles, could easily be marketed as essential ‘how to’ guides for young actors , his honesty and anxiety must be reassuring for performers who no doubt all feel the same way at various points in their careers.
Unlike his previous two efforts, Year of The Mad King also becomes an engrossing story of what it is to age and no longer be at the peak of your physical powers, even as you continue to explore and dig deep into your gifts as a performer.
I’ve been lucky enough to see Antony Sher in the performances that this book encompasses, from his run in Death of a Salesman to a return of his Falstaff (the subject of his previous ‘year’ which was reviewed by us here) and then his Lear, both in Stratford and at the Barbican. He’s a performer who never fails to engage me when I watch him, as with all the great actors there seems to be a genuine through line to his performances, the words, the actions and the silences all seem natural and necessary. It’s wonderful then to be able to read once more his thoughts and feelings as he comes to term with scaling this Everest of roles.
For all that there are some lovely moments of humour (Sher is a self-deprecating writer and is happy to acknowledge his own moments of doubt or mistakes) the book has a sadder tone than its predecessors, as the author deals with difficult times offstage as well as the problems of taking plays around the world.
We also get a glimpse behind the scenes as Sher’s partner (RSC Artistic Director Gregory Doran) puts together the company’s Shakespeare 400 celebrations.
If you enjoyed Sher’s Lear, his Willy Loman or any of his previous books this is a must read, and if you have any interest in the inner thoughts of a performer at the top of their profession you’ll want to read this too. Now, if you’ll excuse me, I’m off to find my DVD and revisit the production…
Unlike his previous two efforts, Year of The Mad King also becomes an engrossing story of what it is to age and no longer be at the peak of your physical powers, even as you continue to explore and dig deep into your gifts as a performer.
I’ve been lucky enough to see Antony Sher in the performances that this book encompasses, from his run in Death of a Salesman to a return of his Falstaff (the subject of his previous ‘year’ which was reviewed by us here) and then his Lear, both in Stratford and at the Barbican. He’s a performer who never fails to engage me when I watch him, as with all the great actors there seems to be a genuine through line to his performances, the words, the actions and the silences all seem natural and necessary. It’s wonderful then to be able to read once more his thoughts and feelings as he comes to term with scaling this Everest of roles.
For all that there are some lovely moments of humour (Sher is a self-deprecating writer and is happy to acknowledge his own moments of doubt or mistakes) the book has a sadder tone than its predecessors, as the author deals with difficult times offstage as well as the problems of taking plays around the world.
We also get a glimpse behind the scenes as Sher’s partner (RSC Artistic Director Gregory Doran) puts together the company’s Shakespeare 400 celebrations.
If you enjoyed Sher’s Lear, his Willy Loman or any of his previous books this is a must read, and if you have any interest in the inner thoughts of a performer at the top of their profession you’ll want to read this too. Now, if you’ll excuse me, I’m off to find my DVD and revisit the production…
This entire review has been hidden because of spoilers.
July 31, 2018
Devoured this in two days. Another wonderful volume from Anthony Sher as he endeavours to describe tackling the actors Everest, King Lear. Indeed, the books starts as he is finishing the American Lear (his portrayal of Willy Loman in Death of a Salesman) and is beginning to look at parallels between the two parts. It is also an elegy to the physical demands of King Lear . The diary format works, as ever and provides a useful way of dividing up the journey that Sher takes in creating the role alongside his own anxieties. Indeed, real health issues for Sher provide a mirror and a way into King Lear failing powers and there is a parallel track as Sher has to find solutions to his own agues and problems (one specifically, affecting his hearing) whilst tackling the problem of what afflicts Lear himself. For the latter, Sher discounts dementia (a popular trope for Lear diagnosis) and it is interesting to see him speak to experts and research possible causal factors in Lear's apparent decline as a king and all powerful being. As usual in these books, his relationships with partners, family and friends come to the fore and their are also myriad trips to China, New York and inevitably Stratford. There are also family bereavements to deal with (another Lear parallel) and strangely touching descriptions of emotions and anxieties. The play itself comes late in these diaries (first rehearsal isn't until page 165) and much of the process involves actually learning the lines, alongside finishing a tour abroad of the Henries (as Falstaff).
This is a beautifully written and handsomely produced book with the usual striking illustrations by Sher, the artist. There are also some pertinent tips and hints not just for any future forays into Lear but all manner of other things.
A wise man is Sher with much wisdom to impart. The pleasure of reading another diary was very great indeed. What next for Sher? I wait in eager anticipation.
This is a beautifully written and handsomely produced book with the usual striking illustrations by Sher, the artist. There are also some pertinent tips and hints not just for any future forays into Lear but all manner of other things.
A wise man is Sher with much wisdom to impart. The pleasure of reading another diary was very great indeed. What next for Sher? I wait in eager anticipation.
February 26, 2020
YEAR OF THE MAD KING: THE LEAR DIARIES is a phenomenal read that both thrilled me with insights and moved me to tears over and over again. Mr. Sher has brought the wheel full circle from his account of playing the young Richard III in YEAR OF THE KING; one of my favorite reading experiences of all time. As a young actor studying Shakespeare, his diaries of all the thoughts and experiences he had in playing Richard III from casting through opening night and closing was a revelation akin to a kind of AN ACTOR PREPARES. The Falstaff diary did not hit me as strongly but this new book about playing King Lear is wonderful. The whiff of mortality emanates not only from the play but also from the world surrounding Mr. Sher. By including the deaths and tributes of beloved family members and esteemed actor/colleagues that occur during his prep time, the reader feels the impact all the more of the gravity of attempting a climb up the Everest that is this tremendous play and character. To all my colleagues in the acting profession, this is a must-read. To anyone who wants to know what it means to be an actor, not a star, not a celebrity, but an actor, YEAR OF THE MAD KING provides an excellent example.
December 14, 2018
I really wanted to like this book more. I was fascinated to learn about the creation of an iconic role from a great artist, I looked forward to the insight into the rehearsal process, etc. Instead I got a year in the life of an aging man who happened to be playing an iconic role.
It's got lots of little things that are interesting, and the reality of creating a role is that everything you are experiencing does feed into its creation, but pages of description of the colour of the trees outside his flat?
This book could easily be 1/3 shorter and lose nothing. It could well have that 1/3 taken up with more detail about how the rehearsals worked, what his process of memorization is, how he works on the details of his physical prep, etc.
Worth it for its moments, but not for the whole.
It's got lots of little things that are interesting, and the reality of creating a role is that everything you are experiencing does feed into its creation, but pages of description of the colour of the trees outside his flat?
This book could easily be 1/3 shorter and lose nothing. It could well have that 1/3 taken up with more detail about how the rehearsals worked, what his process of memorization is, how he works on the details of his physical prep, etc.
Worth it for its moments, but not for the whole.
March 21, 2018
As always, Sher's writing is a gift for leisure readers, scholars, actors and directors alike. It combines the story of his everyday life with that of the rehearsal process and the preassure that a giant of a role like King Lear brings with it.
Even though I loved 'The Year of the Fat Knight', I was surprised to find quite so much of Sher's Fallstaff journey in this book, while the actual rehearsal process of Lear is pushed to the final 80 pages of the book.
The book still provides an amazing insight into what it is to stage and play Lear, as well as The Fool.
A book that goes best with a cup of tea or a glas of wine, a sweet treat and a window seat overlooking the country side.
Even though I loved 'The Year of the Fat Knight', I was surprised to find quite so much of Sher's Fallstaff journey in this book, while the actual rehearsal process of Lear is pushed to the final 80 pages of the book.
The book still provides an amazing insight into what it is to stage and play Lear, as well as The Fool.
A book that goes best with a cup of tea or a glas of wine, a sweet treat and a window seat overlooking the country side.
April 19, 2018
This is a wonderful, wonderful book. Mr. Sher is a lovely writer. But his acting and painting are the stars here. He really gets into what learning and creating a character is all about, what it is really like. As a former actor myself, I delighted in his tales of rehearsal horror and the magic when it all finally comes together. He also writes so tenderly about his brother and his sister and sister-in-laws deaths during the year of Lear. All of it goes into the mad King, of course, as it should. Kudos. Standing O!
June 20, 2019
This is probably a great read for anyone, but for an actor, it is terrific. Following Sher through his process - learning lines, exploring the character and the play, as well as the drama of his personal life - is fascinating. Following the process of putting a show on stage at the RSC is equally so. But the bonus for me was that I found a streaming service that carries RSC productions, so after reading the book, I got to see the show. It was amazing!
March 1, 2020
I didn’t like this as much as the other two theatre diaries, but it’s still pretty good. This has less of the day to day craft of building a part and more of the day to day of playing one and of real life. During this period Sir Antony goes through a number of personal losses, and these affect his thoughts on playing king Lear (obviously) and the feeling of the book overall. Still fascinating but not as upbeat (unsurprisingly) as its predecessors.
December 28, 2018
An entertaining easy read with insights into what its like to be a top actor grappling with the role of King Lear. The author is does not take himself too seriously-- there's no pomposity here and much humanity. Turns out he is a very talented artist (his pictures illustrate the book). You are left hoping for a sequel...
April 16, 2020
I read this straight after the Year of the Fat Knight diaries. It was another interesting account of getting to grips with a big role and the various decisions that needed to be taken in putting the production together. Even our greatest actors experience self-doubt, it was comforting to discover.
September 11, 2024
A deeply personal and engaging telling of the journey to playing King Lear, and the journey we all go on as we reach that stage in our lives. A little too sad at times, I had to read it in small chunks. But that's life, isn't it! I found the inclusion of Sher's sketches and paintings a wonderful addition to what was already an excellent read.
April 18, 2025
i love antony sher’s writing so much (and his acting, obvs). it just feels so intimate and personal, like he’s telling you a secret. his death was such a monumental loss - i miss him :(
anyway really not sure how this helped me with my a-level but i do love a bit of Fake Revision
anyway really not sure how this helped me with my a-level but i do love a bit of Fake Revision
January 4, 2022
rip antony sher ✨
April 9, 2018
Devoured in two sittings: I couldn't put it down. As brilliant as his previous 'year of' books - a privilege and pleasure to read. Although 'Lear' is a long way from being my favourite Shakespeare play, this has made me see it in a different light. Maybe I do need to see it on stage one more time...?
July 15, 2018
Another very enjoyable read from actor Tony Sher, another good long look behind the scenes, like his book Year of the King (on Richard III), but even better, this one, on King Lear. Between the two, Sher has motivated me to read the plays and watch them now that they are so readily available via Netflix and Amazon Instant Video. Thank you, Tony Sher, for opening up a whole new realm of exploration for me and for opening the way wider with your quote from movie mogul, Sam Goldwyn, who said of Shakespeare’s work, “Fantastic. And all written with a feather!”
What an expedition when it comes to Lear, which, Sher says, isn’t just about a man dividing the kingdom (i.e. retiring) and what happens next. It’s about being born “to this great stage of fools” and then seeking to “shake all cares and business from our age… while we, unburdened, crawl toward death.” Sher does not see Shakespeare writing Lear as a history lesson, but instead, as “writing about people, about us all.”
The actor agonizes to prepare for all Lear’s roarings and ruminations. He says Lear is known as the Everest of Acting, and that “there is no other speech in Shakespeare which can make an actor feel more inadequate than when Lear is arguing with a storm… Howl, howl, howl is, like all of Shakespeare’s most famous lines, very intimidating to speak aloud…” He describes Lear’s language as exhilarating: “his monstrous rages, his mad ramblings, his quiet moments of perception…”
Sher’s own language is exhilarating, too. His recollections of Dennis Potter, for example, whose fast-approaching death created “a new awareness of the present tense, the nowness of everything, and brought tremendous clarity to his vision.” Sher records his description of a plum tree having “the whitest, frothiest, blossomiest blossom that there ever could be.” When a writer gives such a lavish example as this, I am grateful.
I also appreciate when an author turns to the reader with asides, which Sher does a lot. In China, where he saw parents setting up little stalls to advertise their available children for marriage, he says it was “like an old-fashioned form of internet dating.” In South Africa, a game of rugby became boring because “both sides are so powerful, they prevent anything from happening... a group of big men running around and jumping on one another….” Me, too, I almost said aloud. I am not alone!
Overall, this was a great report of the creative process. I will use Sher’s own words to explain why I liked this book so much: “Creativity. I love it when we all grope towards the solutions.”
What an expedition when it comes to Lear, which, Sher says, isn’t just about a man dividing the kingdom (i.e. retiring) and what happens next. It’s about being born “to this great stage of fools” and then seeking to “shake all cares and business from our age… while we, unburdened, crawl toward death.” Sher does not see Shakespeare writing Lear as a history lesson, but instead, as “writing about people, about us all.”
The actor agonizes to prepare for all Lear’s roarings and ruminations. He says Lear is known as the Everest of Acting, and that “there is no other speech in Shakespeare which can make an actor feel more inadequate than when Lear is arguing with a storm… Howl, howl, howl is, like all of Shakespeare’s most famous lines, very intimidating to speak aloud…” He describes Lear’s language as exhilarating: “his monstrous rages, his mad ramblings, his quiet moments of perception…”
Sher’s own language is exhilarating, too. His recollections of Dennis Potter, for example, whose fast-approaching death created “a new awareness of the present tense, the nowness of everything, and brought tremendous clarity to his vision.” Sher records his description of a plum tree having “the whitest, frothiest, blossomiest blossom that there ever could be.” When a writer gives such a lavish example as this, I am grateful.
I also appreciate when an author turns to the reader with asides, which Sher does a lot. In China, where he saw parents setting up little stalls to advertise their available children for marriage, he says it was “like an old-fashioned form of internet dating.” In South Africa, a game of rugby became boring because “both sides are so powerful, they prevent anything from happening... a group of big men running around and jumping on one another….” Me, too, I almost said aloud. I am not alone!
Overall, this was a great report of the creative process. I will use Sher’s own words to explain why I liked this book so much: “Creativity. I love it when we all grope towards the solutions.”
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May 15, 2021Reviews and more on my blog: Entering the Enchanted Castle
I loved reading about Sher's life and his artistic process, woven together. Especially moving was the way mortality and his aging body affected him in the course of bringing Lear to production. I would definitely like to read more of these memoirs.
I loved reading about Sher's life and his artistic process, woven together. Especially moving was the way mortality and his aging body affected him in the course of bringing Lear to production. I would definitely like to read more of these memoirs.
September 2, 2024
This book is a must for anyone with an interest in theater, especially actors. Yes, the same insecurities and frailties that bedevil we actors also bedeviled the late Mr. Sher. A marvelous book! But it's so much more, it is deeply felt and moving as he talks about mortality and loss.
June 28, 2023
I have always been a fan of Antony Sher's books on acting and this is no exception.
It's one of the more emotional books I have read of his but it provides a really great insight into how the actors life off stage influences the characters he creates on stage.
It's one of the more emotional books I have read of his but it provides a really great insight into how the actors life off stage influences the characters he creates on stage.
Displaying 1 - 20 of 20 reviews