The Queen is dead. After a lifetime of waiting, Prince Charles ascends the throne. A future of power lies before him... but how to rule?
Winner of the 2015 Olivier Award for Best Play, King Charles III is the "bracingly provocative and outrageously entertaining" (The Independent) drama of political intrigue by Mike Bartlett that comes to Broadway following a sensational West End run. Directed by Rupert Goold and deemed "the most insightful and engrossing new history play in decades" by Ben Brantley of The New York Times, this "bold and brilliant" (The Times of London) production explores the people underneath the crowns, the unwritten rules of Britain's democracy and the conscience of its most famous family.
Though it was certainly never intended as such, Bartlett's text is also a boost to the recent argument (ignited by theOregon Shakespeare Festival) for presenting the Bard's work in modern vernacular. Richard III is written in free verse, an open form of poetry with no meter or rhyme, preferred by Shakespeare. But the language courses with the vivid moxie of 21st century life. Charles, in a moment of great frustration, refers to his subject's faces, "Of no emotion, botoxed in place." In a dazzling soliloquy in the first act, he speaks about the hipness and efficiency of GPS on a car, while smilingly comparing himself to a trusty old tool: "When lost, and crisis strikes, we soon mistrust these modern ways, and reach for what we know: We seek the map." We seek the map, too. Watching King Richard III is like looking at the topographical landscape of a familiar world, one which we faintly recognize despite not having yet seen. It is as fresh, as thrilling, and as awesome as an undiscovered country. A
First, it's bracingly suspenseful for a story that hinges on a parliamentary bill. Next, there's a misandrist streak here for the ages-one departs with the notion that royal males are oafish, and the U.K. is run by emboldened women. Last, the story is told in iambic pentameter and modeled on a clutch of Shakespearean tragedies and histories. The language, though, is contemporary and straightforward: "But now I'll rise to how things have to be. The queen is dead, long live the King. That's me."
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