Hurrah for Broadway! "Charles III" is moving, funny, and great theatre!
Written mainly in blank verse by Mike Bartlett and directed by Rupert Goold, the theatrical production "King Charles III" - dubbed as "future history" - won this year's Olivier award at the end of a triumphant London season and opened recently on Broadway. It is, of course, a fantasy, but one that raises provocative questions about the future of the monarchy and invites the audience to probe the nature of power (actual and perceived), and how it is used by politicians, press, and the sovereign.
Charles has become monarch following the death of his mother, Elizabeth. The play opens in the middle of a funeral mass in a darkened theatre with the characters, candles in hand, chanting "Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam." (Lamb of God, you who take away the sins of the world, grant them eternal rest.). The prayer is part of the Latin Mass sung in the Roman Catholic as well as the Anglican, Lutheran and several Orthodox churches.
Royal Assent
While Charles awaits his Royal coronation, he has his first official audience with a Labour Prime Minister who asks him to sign into law a bill curbing press freedom. Charles declines and, with some encouragement from a devious Conservative Opposition Leader, he returns the bill with 'Assent Reserved' written instead of his signature! When the Prime Minister threatens to pass a new law bypassing royal assent and then pass the press law, Charles comes to Parliament dressed in full royal regalia and dissolves it! This triggers a constitutional crisis that makes up the plot of King Charles III.
There are riots and violent protests across the country. With England on the brink of civil war, Charles invokes army support and increases the guard at Buckingham Palace. Meanwhile, Prince Harry begins a relationship with a commoner named Jess who is also an art student and a republican. Charles offers his protection to Jess (whom the media place at the centre of a sex scandal) and grants Harry's wish to renounce his royal title. William is staying out of the controversy but his wife Kate Middleton is pushing him to secure the endangered monarchy for himself and his heirs.
Kate as Villain!
The Duchess of Cambridge, in full villain mode, plans a solution, which turns out to be William publicly offering himself as a mediator between Parliament and his father. He announces this plan at a press conference without his father's knowledge.
Seeing this as a betrayal, Charles reacts angrily but William threatens his father that he will never see his sons or grandchildren again if he does not agree. Charles is finally forced to abdicate in favor of William, who will sign the press bill and restore the status quo between the monarchy and Parliament.
The play concludes with Harry's rejection of Jess, and William and Kate are crowned King and Queen with more Gregorian chant - this time the "Te Deum Laudamus" (O God we praise thee - an ancient Latin hymn sung on special occasions: a royal coronation, the election of a pope, the consecration of a bishop, the canonization of a saint).
Shakespeare as Inspiration
The Shakespearian references are too numerous to list. It is easy to recognise the histories (Richard II, Henry IV and V) and the tragedies (Lear, Hamlet, Macbeth). The play makes wonderful use of Shakespearean conceits with echoes of Hamlet and Banquo's ghost (Macbeth) delivering prophecies. Princess Diana's ghost appears to both Charles and William and promises each one that he will become "the greatest king of all."
A scheming Lady Macbeth-like Kate Middleton pushes William into interventionist mode. An indecisive (Hamlet-like) William, finally develops a spine to match his wife's. The prospect of usurpation puts us in Richard II territory.
In the end, the beleaguered Charles is both a tragic and sympathetic figure. Isolated and haunted by his mistakes, Charles turns from an abuser of legitimate power into a sad, pathetic and cornered man. He is dignified, principled, but ultimately ineffective.
Top-Notch Cast
Tim Pigott-Smith - whom audiences will remember as the memorable villain in "Jewel in the Crown"(1984 TV miniseries set in India) brilliantly captures the awkwardness of Charles, a man ill at ease with himself and others. He sets the tone from the outset when he proclaims "My life has been a ling'ring for the throne." He is a man of principled anxiety who declares: "Without my voice and spirit, I am dust."
Richard Goulding delivers a touching performance as Prince Harry, with parallels to Shakespeare’s Prince Hal at the Boar’s Head Tavern (Henry IV and V). Here we see Harry getting wasted and falling in love with a feisty commoner. Oliver Chris plays William with wit and charm. Margot Leicester plays Camilla as a woman who offers unconditional love to her needy husband. She keeps reminding him "I'm still here" when he says that his mother left him and now his sons "my boys, my boys" have turned their backs on him.
But perhaps the most provocative performance - and lines - are from Kate Middleton, cast as the villain. She is cunning and shrewd and pushes William (who prefers to leave well alone) into finally agreeing to intervene. Not just king and queen of "the column inch" (newspapers), the pair know how to manipulate the press and "build their brand!"
King Charles III unfolds like a history play with the characters mixing contemporary jargon with verse, archaic expression and iambic pentameter. It could only have been acted by a cast steeped in Shakespeare!
The other interesting theme is that of press freedom. While Parliament wants to restrict the press, Charles who was often the butt of scurrilous media reports and whose first wife Diana was hounded to death by invasive reporters, is - ironically - the only character in the play who wants to preserve press freedom!
Written mainly in blank verse by Mike Bartlett and directed by Rupert Goold, the theatrical production "King Charles III" - dubbed as "future history" - won this year's Olivier award at the end of a triumphant London season and opened recently on Broadway. It is, of course, a fantasy, but one that raises provocative questions about the future of the monarchy and invites the audience to probe the nature of power (actual and perceived), and how it is used by politicians, press, and the sovereign.
Charles has become monarch following the death of his mother, Elizabeth. The play opens in the middle of a funeral mass in a darkened theatre with the characters, candles in hand, chanting "Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam." (Lamb of God, you who take away the sins of the world, grant them eternal rest.). The prayer is part of the Latin Mass sung in the Roman Catholic as well as the Anglican, Lutheran and several Orthodox churches.
Royal Assent
While Charles awaits his Royal coronation, he has his first official audience with a Labour Prime Minister who asks him to sign into law a bill curbing press freedom. Charles declines and, with some encouragement from a devious Conservative Opposition Leader, he returns the bill with 'Assent Reserved' written instead of his signature! When the Prime Minister threatens to pass a new law bypassing royal assent and then pass the press law, Charles comes to Parliament dressed in full royal regalia and dissolves it! This triggers a constitutional crisis that makes up the plot of King Charles III.
There are riots and violent protests across the country. With England on the brink of civil war, Charles invokes army support and increases the guard at Buckingham Palace. Meanwhile, Prince Harry begins a relationship with a commoner named Jess who is also an art student and a republican. Charles offers his protection to Jess (whom the media place at the centre of a sex scandal) and grants Harry's wish to renounce his royal title. William is staying out of the controversy but his wife Kate Middleton is pushing him to secure the endangered monarchy for himself and his heirs.
Kate as Villain!
The Duchess of Cambridge, in full villain mode, plans a solution, which turns out to be William publicly offering himself as a mediator between Parliament and his father. He announces this plan at a press conference without his father's knowledge.
Seeing this as a betrayal, Charles reacts angrily but William threatens his father that he will never see his sons or grandchildren again if he does not agree. Charles is finally forced to abdicate in favor of William, who will sign the press bill and restore the status quo between the monarchy and Parliament.
The play concludes with Harry's rejection of Jess, and William and Kate are crowned King and Queen with more Gregorian chant - this time the "Te Deum Laudamus" (O God we praise thee - an ancient Latin hymn sung on special occasions: a royal coronation, the election of a pope, the consecration of a bishop, the canonization of a saint).
Shakespeare as Inspiration
The Shakespearian references are too numerous to list. It is easy to recognise the histories (Richard II, Henry IV and V) and the tragedies (Lear, Hamlet, Macbeth). The play makes wonderful use of Shakespearean conceits with echoes of Hamlet and Banquo's ghost (Macbeth) delivering prophecies. Princess Diana's ghost appears to both Charles and William and promises each one that he will become "the greatest king of all."
A scheming Lady Macbeth-like Kate Middleton pushes William into interventionist mode. An indecisive (Hamlet-like) William, finally develops a spine to match his wife's. The prospect of usurpation puts us in Richard II territory.
In the end, the beleaguered Charles is both a tragic and sympathetic figure. Isolated and haunted by his mistakes, Charles turns from an abuser of legitimate power into a sad, pathetic and cornered man. He is dignified, principled, but ultimately ineffective.
Top-Notch Cast
Tim Pigott-Smith - whom audiences will remember as the memorable villain in "Jewel in the Crown"(1984 TV miniseries set in India) brilliantly captures the awkwardness of Charles, a man ill at ease with himself and others. He sets the tone from the outset when he proclaims "My life has been a ling'ring for the throne." He is a man of principled anxiety who declares: "Without my voice and spirit, I am dust."
Richard Goulding delivers a touching performance as Prince Harry, with parallels to Shakespeare’s Prince Hal at the Boar’s Head Tavern (Henry IV and V). Here we see Harry getting wasted and falling in love with a feisty commoner. Oliver Chris plays William with wit and charm. Margot Leicester plays Camilla as a woman who offers unconditional love to her needy husband. She keeps reminding him "I'm still here" when he says that his mother left him and now his sons "my boys, my boys" have turned their backs on him.
But perhaps the most provocative performance - and lines - are from Kate Middleton, cast as the villain. She is cunning and shrewd and pushes William (who prefers to leave well alone) into finally agreeing to intervene. Not just king and queen of "the column inch" (newspapers), the pair know how to manipulate the press and "build their brand!"
King Charles III unfolds like a history play with the characters mixing contemporary jargon with verse, archaic expression and iambic pentameter. It could only have been acted by a cast steeped in Shakespeare!
The other interesting theme is that of press freedom. While Parliament wants to restrict the press, Charles who was often the butt of scurrilous media reports and whose first wife Diana was hounded to death by invasive reporters, is - ironically - the only character in the play who wants to preserve press freedom!
One of the most enjoyable bogs I've read. The author's erudition is commendable. But the referenced text makes it easy for "commoners" like us to follow the blog with ease and more importantly, with fun, sometimes marked with hilarity. Thanks for a great piece, Ludwina. We expect more from you along this line.
ReplyDeleteMany thanks for your comment, Mati, and the kind words!
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