Why it’s never father’s day on stage

From The London Telegraph:

Lear The rise of the birth-attending, nappy-changing, self-sacrificial new man is not an archetype that playwrights tend to celebrate much. Indeed, in the theatre it’s almost never a happy father’s day. Drama often being about conflict, and conflict often being between paternal authority and rebellious youth, there are relatively few plays and musicals around that say, “Thanks, Dad, I love you loads”. And even fewer operas. So this Father’s Day say it with a tie, a bottle or a pair of socks but don’t say it with theatre tickets. Unless, of course, you calculate that a trip to the West End might encourage your father to see the error of his ways.

“At least two fathers have already been reduced to a state of sobbing,” says David Calder, currently playing King Lear at Shakespeare’s Globe and receiving stricken dads backstage afterwards. The lesson they’re taking from Lear is simple: that even if they’re kings, fathers cannot boss their children around with impunity. “Lear makes the mistake all human beings make: he believes that because he thinks it, others will think it,” says Calder. “He wants everybody at his feet, writing gooey poems about how wonderful a father he is. He is self-obsessed. It’s a one-way street. ‘I give out the goodies and you fall on the floor and thank me.'”

More here.