Reviews for theater within the greater Los Angeles area.
“King Charles III” – Tradition vs Conscience
November 18, 2017Posted by on
In order to fully understand the tensions of the play now open at the Pasadena Playhouse, it would be helpful have some background in the last century of the British monarchy. By this I do not mean necessarily that fascination with the soap opera played out in public by the royal family in the last few decades, but the ways in which the monarchy has defined its role – and had that role defined for it – in what is otherwise a strongly democratic parliamentary system. What does it mean that the monarch “reigns but does not rule”?
This proves central to “Charles III”, Mike Bartlett’s examination of the constitutional and emotional conundrum facing the current Prince Charles almost as soon as he takes the throne. He, like all monarchs, must sign every bill passed by the parliament before it becomes law, but this is mostly a ceremonial formality. When one crosses his desk he feels is detrimental to his country’s freedom, what can he do? What should he do? What could any action mean to the delicate balance that is the British system?
What makes all of this particularly delicious is Bartlett’s conscious choice to tell the tale in Shakespearean format. There is a ghost speaking cryptic predictions. There is iambic pentameter. There is a moral dilemma played out in the rich format of formal dialogue. Though, by modern standards, this may make the play seem talky, at the same time it relishes in the echoes of Hamlet and Macbeth – the awesome and terrible load on those who wear the crown.
Jim Abele is Charles, a man who has waited a literal lifetime to attain the only job he has ever been trained for. As such Abele finds the balance of the formality of the job and the character’s deep passion for justice in ways which show both his warmth and his sense of command. Adam Haas Hunter, as William, suddenly a crown prince, emphasizes the stoicism and the festering frustrations of destiny, while Meghan Andrews creates in his wife a sense of command which portends a wrangle over definitions of power. Dylan Saunders’ Harry underscores the frustrating uselessness which is the fate of royal younger sons. Sarah Hollis stands out as the girl who introduces Harry to a reality outside the palace, providing a rounded sense of the real life Harry yearns for.
On the other side of the argument, both powerful and adversarial, is J. Paul Boehmer as the prime minister who finds himself in a tense standoff with a king with his own understanding of his role, the parameters of Britain’s (unwritten) constitution, and the needs of a people he may or may not understand. The resulting questions power the play. Is what the people want always the right thing to do? Is there a safety valve available through the monarchy for unwise governmental action? Are the royal family puppets of political forces who, in truth, find them superfluous?
Director Michael Michetti takes what could be a static and talky script and gives it fascinating legs, in part by bringing it out into the Playhouse audience space. Parliament is on the floor with the patrons, and the almost forbidding palatial spaces of David Meyer’s remarkable set provide the instant formality and distance which define the main conundrums of the piece. This, even by itself, helps move one past the details of British constitutional practice into the humanity of the characters and the fearsome angst of the choices being made.
“King Charles III” is, of course, a fiction. Still, by tying its format and emotional core to Shakespeare’s insightful portraits of former kings both real and imaginary, there is a larger concept at play than just wondering what Charles will be like when and if he ascends the throne. Rather, there is a real, active focus on the monarch’s role to “advise and warn”, and how that works in a world awash in sensational media and quick answers to complex questions. As such, it is a treat for the mind as well as the artistic sense.
What: “King Charles III” When: through December 3, 8 p.m. Wednesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, 2 p.m. and 7 p.m. Sundays, with an added performance 8 p.m. Tuesday, November 28, and no performance on Thanksgiving, or at 7 p.m. Sunday, November 26 Where: Pasadena Playhouse, 39 S. El Molino Ave. in Pasadena How Much: $25 – $96 Info: (626) 356-7529 or http://www.pasadenaplayhouse.org