![]() ![]() ![]() ![]() The history of medicine is a major feature, along with the view of the American war for independence, making this a bit like Hamilton‘s less musical, very British cousin.īennett’s writing is imaginative, touching on politics but still making the characters’ feel personal, and bringing a fresh perspective to long-dead events. Gatiss makes the role his own, which is always helpful when one plays the eponymous character.Īdam Penford’s direction is swift and focused, pulling the best out of both Bennett’s writing and the prodigious talent of Gatiss.Īn interesting element of the piece is the cruelty and corruption surrounding the King’s mental state, from diabolic doctors to the truly dysfunctional royal family. The descent into madness is meticulous, uncomfortable and, in the second act, heartbreaking, but it is still peppered with lighter moments. As a well versed comic actor, along with being a king (puns ahoy) of the dry one-liner, he brings an amazing vitality to the role. There may be ruffles and tights aplenty but this is far from your classic period affair.įollowing in the footsteps of Nigel Hawthorne and David Haig, the title role is a big crown to fill for Mark Gatiss. Photograph: National TheatreĪlan Bennett’s royal romp, performed at the Nottingham Playhouse, quickly deep-dives into the tortured mind of 18th-century ruler King George III. ![]()
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