THEATER BEAT : ‘King Lear’ Builds Slowly

The monumental stature of “King Lear” almost does in the Los Angeles Shakespeare Company production at the Richard Basehart Playhouse. Director Geoffrey Forward and most of his company don’t catch up with the Bard until the beginning of Act IV.

After that, energy begins to seep in, some performances begin to look polished in spite of static staging, and the play starts to hold its shape.

Although Eva Loseth’s portrait of Cordelia never loses its small size, Caroline Carrigan’s Regan and Tally Briggs’ Goneril are forceful in the last two acts. Darrell Sandeen’s Lear has good moments, but lacks power and becomes oddly rejuvenated in Act V.

Arvid Malnaa’s Kent and Jules Mandel’s Gloucester maintain themselves well throughout, but David Scott Taylor’s Fool never rises above trying to look comical. The most impressive performances are Jeffrey Paul Whitman’s fiery Edgar, and especially Dan Erickson’s leering Edmund, who looks much too innocent to be a villain, but who lets the audience into his confidence with evil smiles.

“King Lear,” Richard Basehart Playhouse, 21028-B Victory Blvd., Woodland Hills. Wednesdays-Thursdays, 8 p.m. Ends March 25, moves to Pasadena Presbyterian Church, 585 E. Colorado Blvd., Pasadena, where it will play Fridays-Saturdays, 8 p.m., April 2-24. $20; (818) 989-7221. Running time: 3 hours, 15 minutes.