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Winner, 2015 Olivier Award for Best New Play
Winner, 2015 London Critics' Circle Award for Best New Play
Queen Elizabeth II is dead. After a lifetime of waiting, her son ascends the throne. A future of power. But how to rule?
Mike Bartlett's controversial "future history play" explores the people beneath the crowns, the unwritten rules of our democracy, and the conscience of Britain’s most famous family. Drawing on the style and structure of a Shakespearean history play, King Charles III opened at London’s Almeida Theatre, directed by its Artistic Director Rupert Goold, in 2014, before transferring to the West End. This brilliant, provocative play has shocked and thrilled audiences and critics alike, and will transfer to Broadway in Fall 2015.
"Dazzling... The most engrossing, entertaining and insightful new history play in decades." - New York Times
"Outstanding and provocative... The most spectacular, gripping and wickedly entertaining piece of lèse-majesté that British theatre has ever seen." - Telegraph
"Bold, brilliant and unstoppably entertaining... An intelligent, empathetic, moving look at the power and limitations of the modern monarchy... Theatre doesn't get much better than this." - The Times (London)
"Extraordinary... A meaty, hilarious, dizzyingly audacious state of the nation political thriller." - Time Out London
Mike Barlett is an Olivier Award-winning playwright whose plays have been seen at theatres including the National Theatre, Royal Court Theatre, Bush Theatre and Sheffield Theatres in the UK, and off-Broadway in New York.
- Sales Rank: #211863 in Books
- Published on: 2015-03-17
- Original language: English
- Number of items: 1
- Dimensions: .50" h x 5.00" w x 7.70" l, .84 pounds
- Binding: Paperback
- 96 pages
Review
"The most spectacular, gripping and wickedly entertaining piece of lèse-majesté that British theatre has ever seen... blessed with wit, clarity and moments of deeper feeling. Outstanding and provocative... There is barely a moment when the fizz goes out of the writing and the narrative keeps springing surprises.... tremendous." - Telegraph
"Bold, brilliant and unstoppably entertaining... all the intrigue and forward momentum of a real history play. The grandeur too... King Charles III makes us care, makes us laugh, and no doubt will make us argue too. Theatre doesn’t get much better than this." - The Times
"A meaty, hilarious, dizzyingly audacious state of the nation political thriller... elevates the tawdriness of the Royal soap opera into something sublime and serious... a thrilling working through of ideas about modern Britain." - Time Out (London)
"Immensely enjoyable....convincingly plausible... remarkable and thought provoking." - What's On Stage
"Wonderfully original… Bartlett's brilliant text pulses with Shakespearean resonances… a right royal triumph." - The Stage
About the Author
Mike Bartlett exploded onto the scene in 2007 with the premiere of My Child at the Royal Court. Since then he has gone on to become one of his generation’s most inventive and successful dramatists with plays such as Artefacts (2008), Cock (2009), Earthquakes in London (2010) and 13 (2011). 2012 saw the London premieres of Love, Love, Love, Medea and Chariots of Fire, which transferred from the Hampstead Theatre to the West End. His play Bull opened at the Sheffield Crucible in 2013 and transferred to New York as part of last years Brits off Broadway season. Another new play, An Intervention, also opens in April 2014. Mike joined NHB’s list of leading playwrights from Methuen last year. He lives in East London.
Most helpful customer reviews
4 of 5 people found the following review helpful.
Can't wait to see this on stage!
By R. Patrick Baugh
A rapid read of the staging of this British play. Like a polite "Game of Thrones", Charles is, well, Charles - opinionated, stubborn, easily mislead, nothing like his mother. And apparently didn't learn anything in the years he was waiting for the crown. William, Kate, Harry, the ghost of Diana, the PM and the Opposition have other agendas. It's difficult to write a review without giving anything away, but it's worth the read...
1 of 1 people found the following review helpful.
Play abdicates its responsibility - to be interesting.
By Tom Hawkesworth
Extremely disappointing. The play started off with a premise that was interesting - a majority government passes an act basically doing away with freedom of the press. In Canada the Charter of Rights and Freedoms would require the courts to declare the legislation void; pursuant to the Bill of Rights, the same thing would happen in the U.S. However, in the U.K. of Charles III the only institution standing in the way of this egregious attack on a basic freedom is the King, who refuses to sign this iniquitous legislation.
It seems to me that this would lead to the King being the hero of the play - and being supported by the media and the subjects whose rights he is protecting. But no, the playwright paints him as the villain of the play and has him forced to abdicate in favour of his treacherous son.
Accordingly the play misses - abdicates? - its responsibility to deal in an intelligent fashion with the very issue that it - apparently inadvertently - seems to raise.
In addition the playwright puts these characters in a situation where one would expect them to be deeply conflicted, but then makes them colourless, one dimensional, and boring. This may work for Ben Jonson, whose characters represent their "humours", but of course Jonson wrote comedies and this is an effective technique in comedy.
1 of 1 people found the following review helpful.
Wonderful!
By Guido
This is simply a brilliant play. I recommend it heartily.
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