Player Kings
Closing: June 22, 2024Player Kings - 2024 West End History , Info & More
Noel Coward Theatre
85-88 St Martin's Ln, Covent Garden, London WC2N 4AP, United Kingdom London
Ian McKellen - 'one of the world's greatest actors' (Times) - plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke.
A divided country, leadership crumbling, corruption in the air. Welcome to England.
Hal wasn't born to be king. Only now, it seems, he will be. His father longs for him to leave behind his friends in the taverns of Eastcheap, most notably the infamous John Falstaff. War is on the horizon. But will Hal ever come good?
Bringing together Shakespeare's two great history plays (Henry IV, parts 1 and 2), Player Kings will reign over London’s West End for twelve weeks only – playing at the Noël Coward Theatre from April 2024.
__Assisted Performances__
Captioned Performance: Saturday 1 June 2024 - 2.30pm
Audio described Performance: Saturday 15 June 2024 - 2.30pm
Player Kings - 2024 - West End Cast
FEATURED REVIEWS FOR Player Kings
Ian McKellen’s richly complex Falstaff is magnetic
6 / 10
Falstaff’s crew of revellers and rustic yokels seem like a cross between Rooster’s “friends, outcasts and leeches” from Jerusalem and a modern, Fagin-like gang of burglars and pickpockets, with Falstaff as their head, and Mistress Quickly a particular highlight in Clare Perkins. We meet Hal (Toheeb Jimoh) staggering among them in underpants precariously slipping off (have we have seen a mooning prince before?).
Ian McKellen is masterful in a play of two halves
6 / 10
It all comes apart in a staid second half (shorter in length yet feeling longer), where both Shakespeare’s text and Icke’s choices feel much more lacklustre and uninspired. Without the urgent and imminent threat of civil war and insurrection, and with some strange directorial decisions (prostitute Mistress Tearsheet having an Eastern European accent felt particularly lazy), the wheels of Icke’s Shakespearean behemoth wobble as they scream out for voracity. Perfunctory design choices from Hildegard Bechtler, with the show’s aesthetics largely grounded in the early 20th century, don’t add anything too revelatory.
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