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Michael Cox reviews 'a near theatrical triumph'.
Mike Bartlett’s play King Charles III could have been many things: a parody, a satire on monarchy or a potshot at the British political system, to name but a few.
Instead, Bartlett chose a braver course: a verse Shakespearean semi-tragedy; the result is a near theatrical triumph.
This touring production has a great deal going for it: sharp direction, clever design and an excellent ensemble. Front and centre, however, is Bartlett’s text. This ‘future history’ is poetic, filled with rich characters and plot twists and has extra fun populating it with Shakespearean allusions. It's literate and smart, but it's also peppered with humour throughout.
The play looks at a possible future scenario: Queen Elizabeth is dead and heir apparent Charles immediately takes over, with a coronation being planned months in the future to allow for mourning. Parliament has recently passed a new law, a law that will greatly expand government oversight in the press and limit free speech, and all Charles has to do is sign it.
But he can't. Charles finds himself in a conundrum: should he sign a law that he had no say in and detests (all debates and consultations occurred while the Queen still lived), or should he oppose it?
Bartlett’s play is filled with political intrigue and asks excellent questions. He gives all of his characters (real and fictional) at least one moment to shine and has extra fun in basing many of the characters on Shakespearean figures (though to reveal which characters act as inspiration would certainly spoil the plot). There is also a delicious irony in a monarch parting with ceremonial tradition in order to defend free speech.
Robert Powell is magnificent in the titular role. His portrayal of Charles is richly conflicted: traditional yet forward thinking, reserved yet loving and wanting to do right but making unpopular choices to do so. Though not necessarily tragic, he is a character that is easy to empathise with, which is rather impressive in and of itself.
There are strong performances to be found throughout. Tim Treloar and Giles Taylor are terrific as Mr Evans and Mr Stevens, the Prime Minister and the leader of the opposition respectively: two career politicians who revel in saying one thing in private but another before the cameras. Ben Righton’s William is a conflicted figure who’s trying to figure out his place in the world as the new heir apparent, while Jennifer Bryden has some of the most interesting moments as Kate—a woman who clearly comprehends the situation and sees what most others cannot. Richard Glaves’ aloof Harry seems a bit lost in the beginning but actually has one of the most interesting character arcs of the play and has a few terrific moments in the second act.
Bartlett’s text may not be perfect—some of the supporting characters are thin, and a ghostly figure is an opportunity thrown away—but it’s almost remarkable that such an ambitious play has been given theatrical life. And though it’s possible the play will be obsolete with the Queen’s inevitable passing, King Charles III is a rather excellent commentary on the current state of political affairs.
At the Festival Theatre in Edinburgh until November 21 before continuing its tour.
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