Like other Shakespearean tragedies, "King Lear" has proved amenable to conversion into other theatrical traditions. In 1989, David McRuvie and Iyyamkode Sreedharan adapted the play then translated it to Malayalam, for performance in Kerala in the Kathakali tradition—which itself developed around 1600, contemporary with Shakespeare's writing. The show later went on tour, and in 2000 played at Shakespeare's Globe, completing, according to Anthony Dawson, "a kind of symbolic circle". Perhaps even more radical was Ong Keng Sen's 1997 adaptation of "King Lear", which featured six actors each performing in a separate Asian acting tradition and in their own separate languages. A pivotal moment occurred when the Jingju performer playing Older Daughter (a conflation of Goneril and Regan) stabbed the Noh-performed Lear whose "falling pine" deadfall, straight face-forward into the stage, astonished the audience, in what Yong Li Lan describes as a "triumph through the moving power of "noh" performance at the very moment of his character's defeat".