The Mad King Review & Thoughts on West End Transfer
As a big Game of Thrones fan and someone who works in the theatre industry I obviously had to drag myself to Stratford to see this!
I think it’s currently just scraping into the 4 star region, and with some refinements has the capacity to be a top-band 4 star or maybe even 5 star show. It’s clearly still in development, and I’m aware that things are still being changed show to show.
It’s so clearly expensive to produce that I am utterly convinced there will be a future life for this show, and I suspect they’re targeting the West End first. I don’t see a lot of scope for a touring production because of the way the staging is configured.
The Good (Why I’m Glad I Saw It)
A lot of the performances are fantastic. My particular standouts were Elizabeth Ayodele as Elia, Maxim Ays as Jaime, Noah Ritter as Rhaegar, Michael Shaeffer as Aerys and Tanisha Spring as Ashara Dayne. The biggest standout for me was Mariah Gale as Rhaella. She only appears as that character in one Act but she steals the show every scene she’s in.
The staging is extremely interesting; sort of a combination of in the round and traverse with a cruciform shape. This really added to a sense of awe and scale, and was in its own way quite immersive.
The production design is absolutely sumptuous. It’s a feast for the eyes, and a lot of it was quite ambitious. A special shoutout for the puppetry which was absolutely masterful and at its best when representing creatures; dogs, horses, >!dragons!<.
I absolutely loved getting to see more of the dynamics of Aerys’ court - these were all my favourite sections. The relationships in the Kingsguard, Rhaella - really interesting and gave colour and light to something that has always been 2 dimensional in the series & books.
The Bad (Things I Hope They’ll Refine Before a Transfer)
Unfortunately, I think the two leading Starks (Lyanna & Ned) are a little miscast. I found both of their Northern accents to be jarring and unfamiliar in their mouths. Michael Abubakar didn’t offer a very grounded Ned, which was very at odds with what I know of the character from the show & books. He’s also of very diminutive stature and while this shouldn’t hold him back, it definitely led to awkward scenes; for example, there’s a section where he “holds back” Robert Baratheon from attacking The Mad King, which was unintentionally comical because he was about half the size of the actor playing Rob. I feel that more awareness of the dynamics was needed by the director here.
Those performances not resonating is particularly problematic given that it seems the writers are trying to make these two characters the emotional heart of the story. Dramaturgically there’s some work to be done in general here; Act I feels very much like “Lyanna’s story” and then, as she is effectively absent in Act II due to >!her pregnancy!< they pass the baton to Ned without really having done the work to make that change effective. They’re leaning heavily on the audience already having goodwill for Ned and an understanding of who he is from the TV series, which is a bit lazy, and if they want this show to reach a non-fan audience will need revision.
I think the writers would benefit from considering whose story they’re telling in this show. Is it Rhaegar’s, Elia’s, Lyanna’s, Ned’s? You could make an argument for any of them. A TV series as long as GoT can afford to give equal weight to contrasting, nuanced perspectives, but a theatre show (even a mammoth 4 hour one) needs to pick a lane and stick to it a little more. Currently the story doesn’t necessarily feel self-contained, which again, could be problematic if they want to access non-fan audiences. A clearer tightening of this would also help create better cohesion between Act I and Act II, which are currently a little disparate.
A lot happens off-stage that I thought should have been on, and vice versa. It would be far better for an audience to see The Knight of the Laughing Tree ride rather than see Rhaegar win several rounds of jousting against knights. Similarly it would have been infinitely preferable to see >!Rhaegar and Lyanna run away together!< than any of the scenes with Catelyn Tully, whose inclusion felt entirely like fan service. I generally had an issue in Act II, as the play’s chronology started to line up with things we’ve seen in other material - the writers seemed to get caught between wanting to show “new” scenes, and feeling like they had to include things we’ve seen in the series and books, leading to at least one scene that’s lifted verbatim from the TV show. I absolutely could have done without that rehash after being there for nearly 4 hours!
The Ugly (Theatre Sins)
The cast is huge, and they’ve clearly prioritised acting talent over securing movers but there are several scenes dependent on fight choreography delivered by people who simply can’t do it. It looks very clumsy in places. Especially since they’ve got some very interesting conceits going on with lighting & sound in the combat sequences - those cues needed to be tight, and they were quite the opposite. Also - for a show that tries to be very realistic in places (we get fake urine and fake amniotic fluid splashed about the stage) - no blood?!
While I commend the puppetry for animals, there were several fight sequences where puppets were swapped in for the actors. This looked so clunky, slowed down the action, and was completely unnecessary. This is the biggest thing I hope they change if this show has a future life.
The transitions are not slick at all. This is partially due to the stage configuration (which I wouldn’t change), but almost every scene was bookended with several long seconds as the actors tried to hurry off the absolutely massive stage, which again slowed the production down and contributed to the fat runtime. Solutions would probably include (1) transferring to a smaller stage and (2) allowing the next scene to start as the previous scene is ending - the stage is “zoned” such that this would be relatively easy. This was actually deployed in a few places and really worked.
Overall Verdict / TLDR
Makings of a really good show. Currently trading more on spectacle than story, but I think in the hands of the right dramaturg it could be made really compelling.
With some tightening I think it could be a truly stand-out West End show, but there’s some refinement to do before it will appeal to people who aren’t already fans of the source material.