God Save The King!

Best bit: Tim Pigott-Smith has several magical moments; however, the scene where he 'comes undone' is extraordinary. Another favorite is Prince Harry describing his experience outside the walls of royalty, making our everyday rituals and routines seem so enthralling.

Any boring bits? Bartlett wrote the play in five acts and there is a slight lull in pace before intermission however this quickly changes when the curtains rise.

Who would like it? This is a perfect play for modern playgoers to taste the delights of classic theatre, true to form and style. The style requires a bit more focus but given the universal story of the Royal family it is easier to follow.

Who wouldn’t like it? My guess is that a younger audience will steer clear of this play thinking that the story may be irrelevant and jaded. However, that is precisely why they should make their way to The Music Box theatre.

Morning after effect: Being fascinated by the Queen but would hate to be the one to fill her shoes.

Verdict: Four and a half

For many of us our childhood involved story books which took us into magical lands telling tales of love between prince charming and the beautiful princess. Their happiness was usually threatened by a wicked stepmother or Queen and, every now and, then a mention of the King. Ultimately the lessons of loyalty, love and bravery were drummed into us, creating a sense of trust, adventure and perseverance.

In Mike Bartlett's future history play we are reminded that for the Royal family these tales can sometimes be true. While the Queen may not be evil, her reign has outlasted any monarch to date, leaving her son, Prince Charles, waiting with baited breath for his time to shine. Although in this particular tale there is not one but three Princes looking for their 'happily ever after'! The wicked step-mother (cue Camilla) has somewhat tarnished the image of Prince Charming Charles and herself as the next in line, while the more favorable Prince Wonderful William and Kate have won the hearts of the people, and Had-it Harry wants to run for the hills. And so, when the Queen finally lays to rest, how will the enchanted lands of the United Kingdom go on?

King Charles III is a superbly written piece of theatre casting commentary on the future of the monarchs and their place in modern times whilst remaining true to British wit and comedic timing. Bartlett's King Charles III is set in the years to come, and perhaps this piece will soon be seen as prophecy rather than play. It's an absolute delight to watch with a balance of political satire, truth and tale. What makes this new play truly unique is Bartlett's commitment to writing in verse, the Shakespearean rhythm of 'old language' on 'new world' topics reminding us that nothing much changes. In this style the characters speak to the audience, making them an integral part of the piece, as they become part of the rioting crowd or the sounding board for the characters' soliloquies, and of course playing the role of the commoners being addressed by the Royal family and Prime Minister.

The staging choice is most interesting - it is a simple set with few props and few costume changes throughout. Perhaps the company of King Charles III was warned to pack light when heading for their Broadway run at The Music Box theatre. Quite surprisingly the minimalism works, the bare stage and lack of extravagance forces the audience to focus on the words and characters rather than being distracted by the magnificence of an elaborate set. It may seem nit picky but the choice of desk and chair annoyed me throughout. I then wondered if that was deliberate, as these props look so out of place in the castle and perhaps beg the question why they are there at all? If that was the case, very smart, if not, spend a few more bucks on a nicer desk and chair. True to Shakespearean style the actors enter and exit from the back of the stage, shifting seamlessly from one role to the next as the play progresses,, thus the all black attire makes perfect sense. Traditionally costumes seen at The Globe would have been more elaborate and reflect the status of a character in that time, again perhaps a comment on the everyman's lack of wealth.

The casting is so accurate that one has to remind the brain you are merely watching an interpretation of Prince Charles, Camilla, William and Harry, and not a reality TV version of their lives on stage. Tim Pigott-Smith is outstanding in his role as Charles, and his transition from Prince to King is filled with artistic integrity and passion. Oliver Chris (Prince William) and Richard Goulding (Prince Harry) play the sons behind closed doors as we would imagine and they are both excellent. The spirit of Princess Diana that lives between them is moving, and suggests that perhaps they are all still aspiring to be the men she wanted them to be. Thus, her power lives on.

A special mention must be made of Tafline Steen, who landed the role of Harry's love interest Jess as her professional stage debut first at the Almeida Theatre, and now on Broadway. Her performance was grounded and strong, and she more than holds her own against her more experienced co-stars. Steen has the difficult task of representing the disgruntled commoner of today who has little understanding of the duties of a monarch, all the while being fascinated by Harry's disconnect with the outside world, which includes wonders like Burger King whoppers and a Kebab food truck.

Judging by the audience response to King Charles III, long may it live on Broadway.

Reviewed by Nicola Quinn

Friday 6th November 2015
Music Box Theatre, New York City
Find me on Twitter: @_londontheatre_

View our show pages for more information about King Charles III, Music Box Theater.