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Minimalist design and physical proximity to the audience help tremendously. The three best Lears I have ever seen were all in “black box” studio theatres: they were Tony Church, directed by the late Buzz Goodbody in an RSC “Theatregoround” production, Ian Holm in the little Cottesloe in Richard Eyre’s farewell production as artistic drector of the National, and Lee Beagley with a company called Kaboodle in Liverpool’s tiny Unity Theatre. What they had in common was the ability to range from a whisper and a tear to a curse and a howl. Fancy design on a cavernous stage, by contrast, can all too often lead to a train wreck, as Nigel Hawthorne discovered when he teamed up with the Japanese director Yukio Ninagawa in 1999.