King Charles III

Tim Pigott-Smith
By Michall Jeffers

photos by Joan Marcus

The evening begins with a beautifully sung requiem. There are candles being carried in a
large brick enclosure, and the mood is decidedly solemn. Englands longest ruling monarch,
Queen Elizabeth II, has died, and it falls to her son, King Charles III (Tim Pigott-Smith), to
take her place. He is frightened, full of doubt, and also eager to fulfill his destiny. But a
lifetime in the royal family has taught him the art of never showing his emotions. His wife,
Camilla (Margot Leicester), praises him for his composure. But Charless equanimity is soon
disturbed. Like Edward VIII, he is immediately King, although his coronation will be in the
months to follow. And like his late Great Uncle, he faces a difficult decision that may divide
the nation and endanger his investiture.
A bill has been passed in Parliament; it will limit the widespread press abuse of personal
privacy. Surely Charles, whose first wife, Diana, was hounded to her death by paparazzi, will
have no trouble signing such an act. But Charles will not automatically put pen to paper.
Even though his mother acquiesced even when she disagreed, her son will not. Limiting the
power of the press will go against a centuries old tradition- wont it? No one but Camilla
seems to understand the dilemma; but when he speaks to his wife, he mentions more than
once that he feels alone.

William (Oliver Chris) and Kate (Lydia Wilson)

It is not only Charless position thats in jeopardy. His older son, William (Oliver Chris) must
also be concerned about his own situation now that he has taken over the title Prince of
Wales. He hesitates to be seen as anything but completely loyal to his King, but Williams
wife Kate (Lydia Wilson) is sharper than he is, and having been born a commoner, she
better understands the temperament of the people. William must usurp his father to save
the Windsor line- if not for himself, then for his son George.
Into this time of turmoil, the ghost of Diana (Sally Scott) occasionally flits by. Unfortunately,
this is an appearance which takes the audience out of the moment. Everyone is familiar with
the late Peoples Princess; but no effort has been made to make her recognizable in any
way. The simple addition of a suitably styled wig would have helped. Why was such a simple
step not taken? There are times the fact that the play is in verse seems a bit strained,
particularly in the beginning of the first act. Its also a bit jarring when characters we
already know fill in for members of Parliament. Why is Kate there? Oh wait, thats not
supposed to be she.
The weakest thread involves Prince Harry (Richard Goulding). While believably carrot
topped, hes here depicted as being rather chunky and sullen. There is none of the
undeniable sex appeal of the Harry the audience has come to know, and the sweetness of
personality is missing. The public has forgiven the real Harry many transgressions. But even
at the height of his mischief (dressing up as a Nazi, playing nude strip poker in Vegas), hes
always seemed the lovable scamp rather than a resentful, brooding younger brother who
resents being a Johnny come lately. Its particularly difficult to understand his instant love

for Jess (Tafline Steen), a strong willed art student who doesnt particularly seem attracted
to him. Yes, he wants to be free, but to flee a stultifying life with an undemonstrative family
for a life with someone who feels no passion for him seems far more foolish than daring.
The fact that this future history play has been written in verse by Mike Bartlett shows a
daring and a rarely found understanding of the sweep and beauty of the English language.
Director Rupert Goold has created a production that will very likely be discussed at length
both now and well into the future. The staid, rather boring costumes of Tom Scutt are
perfect for the characters. But more than anything else, its the performers who shine. The
company is led by Tim Pigott-Smith, who plays Charles with such both compassion, majesty,
and befuddlement combined that he becomes a character of truly Shakespearean
dimensions. Oliver Chris is a handsome and polished William who could easily win over any
crowd, while feeling inner turmoil about his treatment of his father. Lydia Wilson bears a real
resemblance to the beautiful and poised ever-smiling Kate Middleton. The fact that the
Duchess of Cambridge comes across as more intelligent modern woman than Lady Macbeth
is largely due to her personal charm and stage presence.
Psychics and soothsayers predicted at his birth that Charles would never rule England. Here
that prophesy would appear to come to light. Who knows what the future will bring; but if
its carried out as well as King Charles III is here presented, the United Kingdom will indeed
be in very good hands.
King Charles III, Music Box, 239 W. 45 St., 212-2396200 www.KingCharlesIIIBroadway.com
Running time: 2 hrs. 35 minutes
Cast: Tim Pigott-Smith (Charles), Anthony Calf (Mr. Stephens), Oliver Chris (William),
Richard Goulding (Harry), Adam James (Mr. Evans), Margot Leicester (Camilla), Sally Scott
(Sarah/ghost/TV producer), Tafline Steen (Jess), Lydia Wilson (Kate)
Author: Mike Bartlett
Director: Rupert Goold
Scenic & Costume design, Tom Scutt; Lighting design, Jon Clark; Sound design, Paul Arditti