I've only seen one really good Mad Tom character, and that was because the actor who played Edgar was God's own gift to raving loonies. He carried the entire third act like some chittering and burbling Atlas. I really should do him justice and print his name here, but I can't find it in any of my notes. He'll just have to go unsung. A shame, really, he was a completely charming nutzbar.

But anyways, like I was saying... 80% of King Lear is performed in the first scene of the first act. You've got the king's misunderstanding and rage, and Cordelia's idealism instead of diplomacy, and you've got all the other parts circling them in orbit. Unlike most of Shakespeare's other plays, which build through the acts, Lear starts out on one gigantic ego storm, and everything else falls out from that like flotsam after a dam-break.

If you're putting on a production of King Lear, there's just three things you must convince the audience of in that very first scene:

1. That the king has put all his hopes and dream on retiring to the care and shelter of his youngest daughter, who he loves more than anything.
2. That Cordelia does love her father, but is a stupid teenager who believes that she must be true to her ideals instead of being diplomatic.
3. That the king's mind snaps when he hears Cordelia's slight.

It's just three simple things. Every player in "darker purpose" scene must help to convey those three points. Regan and Goneril's falseness work on the first part, France and Burgundy work on the second part, and Kent's arguing work to the third part. Keep you mind on those three parts and you've got most of the play, all in the first scene.

I don't want to remember all the performances of Lear that I've seen that haven't shored up those three simple points... and breaks my heart. With those three points you get a heaving mass that the rest of the play can pin their efforts onto. Without 'em, and you're left trying to pick meat off of barren bones.

And for God's sake, while you're working on the first scene, get your relationship between Edmund and Gloucester right. Too many of the productions I see have Gloucester tolerant or even fond of Edmund. Good god, this is a man who's embarrassed by his bastard son, who mocks him openly, and who is in a hurry to get rid of him as fast as he can. I suppose those who try to dress Gloucester as a kindly father want the horror of Edmund's attacks to be all that more horrific, but give it a rest. Edmund needs at least a slight ledge to purchase his hate on.