3rd Workman - Ron Pember Soldier - Bob Hoskins Lear - Harry Andrews Bodice - Carmel McSharry Fontanelle - Rosemary McHale Warrington - Anthony Douse Old Counsellor - George Howe Engineer - Gareth Hunt Firing Squad Officer - William Hoyland Bishop - Gareth Hunt Duke of North - Eric Allen Duke of Cornwall - Alec Heggie Soldier A - Bob Hoskins The Gravedigger's Boy - Mark McManus The Gravedigger's Boy's Wife - Celestine Randall Carpenter - Oliver Cotton Sergeant - Bob Hoskins Soldier D at the Gravedigger Boy's House - Ray Barron Soldier E at the Gravedigger Boy's House - Geoffrey Hinsliff Soldier F at the Gravedigger Boy's House - Anthony Milner Judge - William Hoyland Usher - Gareth Hunt Old Sailor - Matthew Guinness Ben, a prison orderly - Matthew Carpenter Soldier H, guard in the prison - Geoffrey Hinsliff Soldier I, guard in the prison - Richard Howard Soldier J, Guard in the Prison - Bob Hoskins Old Prison Orderly - Anthony Douse Wounded Rebel Soldier - Matthew Guinness Bodice's Aide (Major Pellet) - Struan Rodger Soldier J, Convoy Escort - Bob Hoskins Soldier K - Convoy Escort - Geoffrey Hinsliff Soldier L, Convoy Escort - Richard Howard Prisoner 1 - Struan Rodger Prisoner 2 - Ron Pember Prisoner 3 - Derek Carpenter Prisoner 4, later Prison Doctor - William Hoyland Prison Commandant - Gareth Hunt Soldier M, Prison Guard - Ray Barron Soldier N, Prison Guard - Matthew Guinness Soldier O, Prison Guard - Eric Allen Farmer - Geoffrey Hinsliff Farmer's Wife - Marjorie Yates Farmer's Son - Anthony Milner Thomas - Alec Heggie John - Richard Howard Susan - Diana Quick Small Man - Ron Pember Officer - Gareth Hunt A Boy - Ray Barron And other soldiers, Workers, Strangers, Court Officials, Guards Sets designed by John Napier Costumes designed by Deirdre Clancy Lighting by Andy Phillips Context In the late 1970s, the British theatrical community was interested in the failure of the postwar socialist promise, and used historical drama to offer, in the words of Keith Peacock, “a clear reflection of the aspirations, activities, and worries of the Left during the 1970s”. According to Louise Geddes, Bond's Lear is "often read as part of the renewed interest in the historical epic, and viewed as a nostalgic response to a troubled time." Critical reception David L. Hirst wrote in his book Edward Bond, “it may be