Review: KING CHARLES III Contemplates A Time When The Longest Serving Heir Apparent Ascends The British Throne

Saturday 2 April 2016, 7:30pm, Roslyn Packer Theatre, Walsh Bay Sydney

Drawing on the style of Shakespeare, writer Mike Bartlett looks to a future where Charles, Prince of Wales finally becomes KING CHARLES III. A contemporary possibility blended with the Bard's old world speech patterns and staging traditions draws parallels to the iconic stories of past monarchs, scheming relatives, noble intentions and the odd ghost whilst ensuring currency, a degree of fantasy and a disturbing possibility of foresight.

Following its premiere at Almeida Theatre in London in April 2014, and subsequent West End and Broadway seasons, the Almeida Theatre staging of KING CHARLES III comes to Sydney Theatre Company. The UK touring cast and creatives present this potentially prophetic work with precision and texture, creating images of a changed England under a new King, drawing on the well know, real world characters whilst ensuring that there is a realism, removing caricature.

Bartlett considers an England post the death of Queen Elizabeth II and Prince Charles' opportunity to finally take the role he was born for, King of England. The prospect of a parliament trying to 'protect' England from another News International Phone Hacking Scandal style problem sees the government at loggerheads with the new King as Charles. Despite his history with the media, he goes against century old tradition for the Monarch to automatically give Royal Assent for a bill to become law and instead choses to invoke his believed right to refuse and instead questions the degree of restriction of freedom of the press the Prime Minister is proposing. Add to the tension between Monarchy and Government, Bartlett brings in other members of the Royal Family, each having their own agenda to challenge the King in their own way.

Director Rupert Goold and co-director Whitney Mosery have created a somber picture as Tom Scutt's (Designer) candle lit set is revealed. A dozen mourners, singing a Requiem, indicate the passing of the Queen as they move around the raised platform that sits within what appears to be old castle walls. Given the grittiness and dark, dirty subversive plots that fill the play, the choice of the weathered old exposed walls and a fading frieze of faces, as opposed to sleek palatial furnishings, add to the tension and foreboding. Additions to the set are kept to a minimum and are kept relatively simple aside from the Fine China tea-set. Scutt has kept the palette monochrome for the most part, injecting color for regalia. He has drawn on iconic stylings of the people the characters represent, from Kate's fitted skirt and turtle neck top, Camilla's dowdiness and Harry's rebellious party boy image in jeans and hoody.

As Charles, Robert Powell gives the future King a quiet sensitivity and steadfast devotion to his country without creating a caricature of the Prince of Wales and the potential King Charles III. His grief for the passing of 'Mum' is palpable. The inner conflict at doing what is morally right versus what is expected is expressed as pensive, considered thought and passion as Charles chooses to rise over any anger he may feel towards the media for intruding on his own and his family's lives. His realization of the betrayal at the hands of his son, daughter in law and closest staff and the broken man that comes of it is heart wrenching. Regardless of any personal opinion of the Prince as he is in real life, Powell ensures that the audience is sympathetic to Charles' situation and sees him as a monarch trying to do the best for his country as he invokes his "right to warn his government ministers".

Bartlett has drawn a social climbing manipulative Duchess of Cambridge and Jennifer Bryden allows the audience to be lulled into a false sense of security with the pretty "plastic" princess before showing her true intentions. She captures the Duchess' poise and composure that is so well known from the media and presents the image dutiful wife wanting the best for her family to the outside world and exposes the truth when within the palace walls.

As a contrast to the Duchess of Cambridge's expectation that she will one day be Queen, the Duchess of Cornwall, Camilla knows she will never sit beside Charles as his Queen but, like Kate, still pushes her husband to assume his full rights as King. Carolyn Pickles gives Camilla the uncertainty of a woman who knows she isn't fully embraced by the Palace and the people. She expresses a neediness of wanting to be acknowledged despite being constantly shunted to the sidelines.

As Charles' sons, William, the Duke of Cambridge, and Harry, Prince of Wales, Ben Righton and Richard Glaves respectively, express the differences in the 'Heir and the Spare' as they have so often been dubbed. Bartlett draws on Harry's history as media fodder, with reference his partying ways and 'that night' in Las Vegas. Glaves draws out Harry's disenchantment and resignation that he will only ever be the son of a king, brother of a king and uncle of a king. His awakening in the company of republican Jess (Lucy Phelps) is animated, humorous and passionate whilst also bittersweet. William, the second in line to the throne, is presented as an opposite to his hedonistic younger brother. Righton presents Willam is reserved with a care that seeks peace but is ultimately bendable given the right push in the form of Kate reminding him of his duty to his son.

Bartlett's text and construction of KING CHARLES III draws on the work and style of William Shakespeare but he has ensured there is a balance between the obviousness of the poetry and cadence to allow the structure of the work become 'invisible' and sound possible in a contemporary setting, despite the use of the old world structure. The more obvious moments of poetry and structure add to a humor and remind the audience that this is a 'what if' scenario and not fact despite the realism of the work. Whilst much of the work is done in the metered but unrhymed lines of blank verse, it is amusing when Bartlett does slip in rhymes, adding a simplicity like something more likely akin to Dr Seuss than William Shakespeare.

KING CHARLES III is a brilliantly presented work that is both humorous, and making a statement on current events, but being somewhat terrifying at what may happen if Bartlett's predictions and character assessments come true. Whilst based on 16th century structure and style, the contemporary setting with people we know about makes KING CHARLES III more accessible to modern audiences, particularly when compared to the historic works of kings and queens long dead. A must see performance.

KING CHARLES III

Roslyn Packer Theatre

Walsh Bay, Sydney

31 March - 30 April 2016

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