King Lear is arguably one of Shakespeare’s most moving tragedies, in which a proud but foolish monarch is the architect of his own downfall. It takes a brave amateur company to tackle such a monumental work, but Triptych Theatre, formed in Oxford five years ago, appears to have no qualms.

“I don’t think it is as challenging as people make out,” says director Simon Tavener. “To me, it’s a family drama – it’s about a family that can’t get on with each other, and an old man who’s coming to terms with his humanity and mortality. Yes, it’s on a big, epic scale, but it comes down to a father and three daughters, and the fact that they don’t get on.

“I think we’ve pulled off something that’s intimate, very personal, very touching, even funny in places, nasty in others. And it hasn’t dated in the slightest – fathers and daughters are still in conflict, and that’s one of those themes that never goes out of fashion.”

Refreshingly, Simon has shunned the gimmickry that finds its way into so many modern productions of Shakespeare, and opted instead for a minimalist approach. Simplicity is the key to this production; the costume is modern dress and the set is a bare stage, which can be transformed into different locations with clever use of lighting and smoke.

“In many ways it’s the way I imagine Shakespeare would have done the play,” Simon explains. “The original production didn’t have a set; it had minimal furniture, the costumes were contemporary, with a few additions to make the characters clear, and the props were minimal. ‘It’s the storytelling and the acting that are most important. There’s enough to indicate where we are, but nothing to detract from what 15 people are doing onstage to tell you the story of King Lear and his family.”

The cast is entirely local, and includes experienced amateurs alongside what Simon describes as “the best of the student talent”. “It is purely an amateur company, but with aspirations to perform as close to a professional performance as we can manage,” he says.

Playing the eponymous hero is Colin Burnie, who caught the acting bug at the age of 13 when he played the page in The Taming of the Shrew. “I’ve been at it ever since – that was over 50 years ago!” he laughs. “Acting to me is almost like a drug – I’m on such a high when I’m doing it.”

With drama school training under his belt, as well as major parts with the Richmond Shakespeare Society and local groups such as the Oxford Theatre Guild, the Riverside Players and Tomahawk, Colin has the talent and experience for the role of Lear.

“It’s a terrific challenge, and a wonderful, wonderful part,” he says enthusiastically. “He’s a silly old man, who makes a lot of very wrong decisions, and of course the sequence of wrong decisions eventually leads to the tragedy. He goes from autocratic tyrant to distressed vagabond, and he has the vengeful father in him, he has the loving father in him, he’s got uncontrollable rage and he’s got moments of pathos, particularly with the Fool and with Cordelia in the final couple of scenes. So there’s a great range to the part, which makes it very rewarding to do.”

Simon is keen that young people should see the play, and has added a cheaper matinee for schools. “I believe strongly that we need to get children into Shakespeare early,” he says. “And while King Lear is not suitable for young kids, anyone doing their GCSEs or A levels will hopefully find something in our performances that will help them understand the play.”

Simon wants youngsters to realise that Shakespearian language is not as scary as many think it. “The language is the glory of it. And it isn’t as difficult as people think. You just have to let it wash over you, and eventually your ear becomes attuned to it. Every single one of Shakespeare’s plays has a great story and great characters – they wouldn’t have lived for 400-plus years if they hadn’t. We need to break down those barriers, get children interested, and hopefully they will come back in later life and enjoy Shakespeare for what it is – good theatre.”

Triptych’s production of this great Shakespearian classic promises to be a compelling and emotional experience. “It can still be entertaining, even though it’s a challenging play,” says Simon.

“The death of Lear and Cordelia at the end touches me deeply, and it’s important to convey that emotion to the audience. It’s upsetting and it’s moving – it’s moving me to tears in rehearsal, so hopefully it will have the same effect on the audience.”

n Oxford Triptych Theatre’s production of King Lear is at the OFS Studio Theatre from Tuesday to May 2. Box office: 0844 844 0662 or visit www.ofsstudio.org.uk.