Oscar and three-time Tony winner MARK RYLANCE "proves again that he is one of the great actors of our age" (Time Out London) in FARINELLI AND THE KING, coming to Broadway following sold-out runs at Shakespeare's Globe and on London's West End. Written by Claire van Kampen and directed by John Dove, this captivating new play "celebrates the restorative power of music and how it can transform us" (The Telegraph).
FARINELLI AND THE KING is inspired by the fascinating true story of Philippe V (Rylance), a Spanish monarch on the brink of madness who finds unexpected solace in the voice of world-renowned castrato, Farinelli. Soon, Farinelli and the King forge a powerful connection, and the celebrated singer must make a difficult choice: return to throngs of adoring fans or perform forever for an audience of one.
Rylance leads an acclaimed cast, including countertenor Iestyn Davies, who "sings with rapturous virtuosity and uncanny beauty" (Independent) throughout the play. Like Broadway's Twelfth Night and Richard III, this contemporary work is presented in the signature style of Shakespeare's Globe - traditional baroque instruments are performed live in a gallery above the stage; the audience enjoys intimate seating with several rows onstage; and the story is told by candlelight, creating an enchanting theatergoing experience and "a pleasure that verges on the sublime" (The Guardian).
In the paradoxically plaintive and joyous sound of a castrato's voice channeling Handel's music, the King has glimpsed a paradise beyond his fractious court and his burdened royal self. Trying to create that idyllic vision in the real world, in a rustic outpost in the forest in the second act, is an experiment doomed to failure. But watching Mr. Rylance's Philippe experience Farinelli's voice, we hear what we hears. And an actor and a singer temporarily turn a night at the theater in an anxious city into an Eden beyond worldly care, all the more precious for its evanescence.
The play, to be fair, does not aspire to be encyclopedic. It is, like Farinelli's operas, an entertainment-and one specifically for Rylance to play with all manner of facial expressions and tones. If the story palls, look around you. Director John Dove uses every bit of the theater, with actors going up and down the aisles, and musicians, led by Robert Howarth on harpsichord, placed in the gods. Jonathan Fensom's design is your own visual test for the evening: The theater is lushly paneled, as if we are indeed at court, with descending screens signifying different settings. But the other bit of truly crucial magic is Paul Russell's lighting. Six chandeliers filled with candles act as the stage's main illumination. There are candles all around the stage in boxes. Where is the other light coming from? Seemingly from the existing, beautiful lighting of the Belasco, which is variously raised and lowered in intensity. Perhaps Russell has hidden other lighting genius more surreptitiously. Whatever, your eyes and ears will leave Farinelli happy indeed.
| 2017 | Broadway |
Original Broadway Production Broadway |
| Year | Ceremony | Category | Nominee |
|---|---|---|---|
| 2018 | Drama Desk Awards | Outstanding Costume Design for a Play | Jonathan Fensom |
| 2018 | Drama Desk Awards | Outstanding Lighting Design for a Play | Paul Russell |
| 2018 | Drama Desk Awards | Outstanding Wig and Hair | Campbell Young Associates |
| 2018 | Outer Critics Circle Awards | Outstanding Lighting Design | Paul Russell |
| 2018 | Outer Critics Circle Awards | Outstanding New Broadway Play | Farinelli and the King |
| 2018 | Outer Critics Circle Awards | Outstanding Orchestrations | Claire van Kampen |
| 2018 | Tony Awards | Best Costume Design of a Play | Jonathan Fensom |
| 2018 | Tony Awards | Best Lighting Design of a Play | Paul Russell |
| 2018 | Tony Awards | Best Performance by an Actor in a Leading Role in a Play | Mark Rylance |
| 2018 | Tony Awards | Best Play | Claire van Kampen |
| 2018 | Tony Awards | Best Scenic Design of a Play | Jonathan Fensom |
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