An ironical love letter to monarchy
Award-winning British playwright Mike Bartlett’s play King Charles III opened at ACT’s Geary Theater this past Wednesday. It is referred to in the promotional literature as a neo–Shakespearean play. And in a way it can be viewed as an addition to the long string of historical plays that Shakespeare wrote to add force to a mythic legitimization of the rule of Queen Elizabeth I. Overall, the play is about the struggles of the current monarchy to preserve itself.
Much of it is written in iambic pentameter, with inversions in the syntax. There are a number of “what think you, my husband?” structures in the dialog. The former is a testament to the playwright’s facility with language; the latter a wry twist to the Bartlett’s verbal display. Even so, all the iambic pentameter in the world cannot hide what a dull lot the Royals are.
The play won a Critic’s Circle Theatre Award in 2014 for Best New Play and a Laurence Olivier Award in 2015 in the same category. It was nominated for a number of Tonys and a Drama Desk Award in 2016. More than the Atlantic divides North America from Great Britain’s form of political hierarchy.
The play’s action opens with the death of Queen Elizabeth II, and Charles assuming kingly duties before his coronation, which is his legal right. Prime Minister Evans (Ian Merrill Peakes), who appears to be Labour, comes to speak with Charles (Robert Joy) in the traditional weekly half- hour meeting during which the prime minister and the monarch discuss current pressing political matters. The prime minister informs Charles of a bill that has passed both the House of Commons and the House of Lords. It needs only Royal Assent, the king’s signature, in order to become law.
Charles, though, “dissident” that he names himself in real life, doesn’t want this bill, which preserves individual privacy through imposing strictures on the press, made into law. The government and Royals have long struggled with media invasiveness and the scandals they revealed and reveled in. The play’s writing followed on the end of a long series of investigations that stretched over two decades and was capped by the News International phone hacking, which in turn led to prosecution and the closure of the 168-year-old paper in 2011.
The Leader of the Opposition Mark Stevens (Bradford Farwell) drops devious hints on how Charles could not only oppose Parliament but bring it down. Kate (Alison Jean White) persuades her husband William (Christopher McLinden) that the traditional neutrality of the regent must be maintained, and the best way to do that is by Charles’ abdication and William’s ascension to the throne. Camilla (Jeanne Paulsen) thinks her husband has every right. Harry (Harry Smith) wanders off with the revolutionary working-class beauty Jess (Michelle Beck) to enjoy the delights of having no privilege in the world – real life, wow!
And drifting through the scenes in black mourning veil is Diana (Chiara Motley), who informs both Charles and William, individually and on different occasions, that he will be “the greatest king we ever had.”
The entire cast, led by the outstanding Robert Joy was excellent, and there were a slew of presentable RP accents, with a few oddly generic working-class accents. Scenic design by Daniel Ostling echoed just enough atmosphere of the high-ceilinged stones of Buckingham Palace. Costumes by Jennifer Moeller and lighting by Lap Chi Chu added to the formality.
It’s wry, it’s sly, it’s even a tiny bit goofy. And it’s British to the marrow of its theatrical bones. It translates well enough, but you may not feel that frisson of ecstatic delight granted to the admirers of monarchy, born and bred.
– Jaime Robles
King Charles III continues at ACT’s Geary Theatre through October 9. For tickets and information, visit act-sf.org.
Photo: Prince William (Christopher McLinden) upstages his father at a press conference, flanked by Kate (Allison Jean White) and King Charles III (Robert Joy) in King Charles III, playing at A.C.T.’s Geary Theater. Photo by Kevin Berne.