One of the odd and unique interesting qualities of King Lear is its fantastic and vague setting in prehistoric Britain, that Shakespeare chose a tale of a king you couldn’t find in a list of the Kings and Queens of England, even while he gave the play something of a history play shape, with British Kings and princes, crises of succession and fighting with each other and France. But it isn’t a history play, it's based on a britannic myth that was already a myth in the middle ages, and the play is set around about some time in the misty, undocumented bog before Ethelwulf, Egbert and Offa, and after Arthur, but perhaps not, maybe it predates the Romans, maybe even the Celts? It's in a parallel timeline no doubt.
This production of Shakespeare’s Richard III has reached BAM after a sold-out run at the Old Vic and a tour which included Epidavros, Istanbul, Naples, Sydney, Beijing, Hong Kong, Singapore, and San Francisco, among others. This reminded me of the sort of thing the British Council does, but of course this Shakespearian globe-trotting was a private enterprise, funded largely by Bank of America and the Stavros Niarchos Foundation. And course the whole point of the production’s parent organization, The Bridge Project, was to combine British and American casts. Perhaps there should be an organization beyond the British Council to cultivate, study, and promote the global English language, as it used on the streets and in literature around the world, including Australia, New Zealand, South Africa, Nigeria, Guyana, and others. And the way English is behaving in the physical and cyber-world today, it may need some international body to encourage it in good manners, kicking it under the table, when it starts to monopolize the conversation.