BWW Reviews: KING CHARLES III, Wyndham's Theatre, September 11 2014

King Charles III is the latest production to transfer from the Almeida to the West End. Set after the funeral of Queen Elizabeth II, it focuses on the weeks between the former monarch's death and the new monarch's official crowning at their coronation ceremony. The production raises questions that have been raised repeatedly, including the powers of the monarch and whether or not they're relevant anymore.

These days the Royals are sometimes perceived as primarily being fodder for tourism in London. You can scarcely pass by a tourism shop in Central London without images of the Queen or Kate and William on tea towels, mugs and other crockery beaming at you from the window display.

Here, the former Prince of Wales is now King, and upon his ascension, he is passed a Bill for him to sign by the current Labour Prime Minister Mr Evans (Adam James) restricting the freedom of the press with the Leader of the Opposition (Nicholas Rowe) whispering in the King's ear, encouraging him to stand his ground. Not fully on board with the Bill and what it represents, Charles (Tim Pigott-Smith) refuses to sign resulting in a constitutional crisis which sees rioting up and down the country. William (Oliver Chris) and Kate (Lydia Wilson) are forced to decide whether they stand up to the King and make him see sense, or stand by and offer their support as the situation spirals out of control. Meanwhile Prince Harry (Richard Goulding) has met and fallen in love with art student Jess (Tafline Steen) and must decide between his Royal duties or forsaking it all for love, and the ghost of Princess Diana haunts the walls of Buckingham Palace.

Writer Mike Bartlett portrays Kate as intelligent and politically aware, encouraging William to stop his father from destroying the future for their son, the future King, George. Margot Leicester makes for a very believable single-minded Camilla, who encourages her husband to carry on with his almost tyrannical behaviour. Tim Pigott-Smith is fantastic as Charles, moving between a stressed family man trying to do what he believes is right and a King intent on using his power to ensure compliance. The Shakespearean feel of the play, including blank verse, add to the atmosphere and in fact heightens the drama.

The transfer to the West End is very timely, with the Duke and Duchess recently announcing a second baby is on the way and the Scottish referendum taking place in the next few days. The set designed by Tom Scutt perfectly mirrors the back wall of the Almeida, and the brick-lined backdrop doesn't feel entirely out of place in the Royal setting. Director Rupert Goold does a fantastic job of ensuring the pace remains at a steady speed, with drama and comedy thrown together to create a mesmerising production.

Photo Credit: Johan Persson

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