On & Off Broadway

‘Charles III’

Reviewed by Elyse Trevers

Posted

Despite a hard-fought battle for independence in 1776, Americans have a fascination with the British monarchy, especially when there’s a princess wedding. They also are intrigued when the royals have marital and in-laws problems like normal people. In his mesmerizing “future history” play, Charles III, playwright Mike Bartlett envisions the time when Queen Elizabeth dies and her son, Prince Charles, ascends the throne.

In awe of his mother’s legacy of stability, he is so anxious to make his mark that he rejects a bill brought to him from Parliament for his signature. He wants the Lords to further discuss the bill. The Prime Minister (ably portrayed by Adam James) is confounded and then angered since the royal signature is merely a convention; it has no legal significance. The PM eventually pushes for legislation eliminating the King’s approval on all acts. Charles retaliates by finding an ancient legal statute that allows him to dissolve the Parliament. And chaos ensues.

What makes this play so fascinating is the superb casting and script, which is written in blank verse. Tim Pigott-Smith bears a very strong resemblance to Charles, so it feels as if the audience is really watching him. He begins as a weak man, anxious to show strength and then starts to act rashly and emotionally. Undoubtedly, many viewers already have an opinion about Charles generated by the media’s depiction of his marriage to Princess Diana and his second marriage to Camilla Bowles. Although Charles is not a popular figure, Pigott-Smith’s incredible performance makes us feel compassion and later pity for the man who has spent his whole life in the shadows being groomed for one job.

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