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).
Fortunately, Rylance puts his full arsenal of mannerisms on display to prevent this king from being the royal bore of Madrid. Whenever van Kampen's dialogue turns florid, he gives it a flat modern reading, and throws in an F-bomb. Elsewhere, he vocally stumbles and pauses, and lets dull phrases wither in his mouth for added comic effect. Meanwhile, Grove's queen suffers without giving much range to her desperation other than an occasional eyeball roll or nostril flare. And Crane's castrato remains glum, especially when Davies is singing. Dove delivers an appropriately spectacular entrance for the singing Farinelli at the end of Act 1, but for the most part his direction of the two Farinellis is a major waste of potentially golden opportunities.
This is plenty enough to put Farinelli and the King on the highly recommended list. But the drama, I'm afraid, doesn't match the rest of the evening. The plot is intriguingly promising, yes; but the execution is merely functional. After a while, we begin to think that the play is built around the star's performing strengths, as opposed to the performance being built to support the play. Rylance's strengths are myriad, of course; and his wife/collaborator knows every trick he has in his overflowing sack. Sure, why not give him a role which displays them all? Only we feel like we are watching him display them all. And we know, from years of watching excellent actors, that they are likely at their best when they are not simply playing to their strengths. Rylance is delightful and delicious and exuberant and altogether lovable here; but we are seeing the actor, not a dramatically-realized version of Philippe V. Rylance is altogether excellent; the fault, to paraphrase Cassius, is not in our star.
| 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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