double quotation markYou don’t need to read the entrails of a raven to guess the target of the subtitle The Mad King: the various Brutuses plotting his fall conclude that the “paranoid and delusional” monarch will destroy their civilisation. The focus, though, is not just Trumpian. Macmillan references two wider international crises – the instability of heads of state and the weather – and a UK national concern: the endurance of a royal bloodline. The RSC’s patron, King Charles III, might skip this one.
Mark Lawson, the Guardian
double quotation markThe main auditorium has been reconfigured so that the audience presses in on all sides with the action predominantly confined to a cruciform stage with mighty gates at the far end and a coronet-style arch at its centre. The opening wordless sequence, featuring an inordinate procession of arrivals (there’s a cast of 36), conjures a due aura of wonder and clanging foreboding. Most strikingly, a number of characters enter on horseback; these magnificent metallic steeds are operated, as in War Horse, by an obliging trio of handlers.
Dominic Cavendish, the Telegraph
double quotation markThe great achievement of this reimagining of George RR Martin’s universe by writer Duncan Macmillan and director Dominic Cooke is that it ties up plot points from the Song of Ice and Fire franchise in ways likely to satisfy avid fans of the novels and the subsequent TV series but simultaneously creates a narrative clear and engaging enough to entrance the only partially affiliated or the complete newbie.
