The Madness of George III

With 2012 being yet another year for Royal hysteria is seems perfect that Alan Bennett’s 1991 play is revived in London’s West End after a successful run at the Theatre Royal Bath. The play concerns the latter half of George III’s reign, in which the ruler, who is most famous for loosing America in the War of Independence, was battling with an un-diagnosed mental disorder. Historical reports are varied and inaccurate, and Bennett takes obvious liberty and dramatic license in creating this disturbing comedy. Originally produced 11 years ago at the National Theatre, this new production directed by Christopher Luscombe finds a new truth in the drama, mainly channelled by David Haig in the title role.

Overall the production is tasteful but at times feels rather safe and a little fussy. Janet Bird’s set provides a beautiful canvass for Haig to develop his mental demise, but the ensemble lack a sense of urgency that could help bring the piece up to date. A number of rousing Handel chorus’s fall flat through a dull pre-record, and for the amount of cast on stage one would expect the overall energy to be a few kilowatts higher. Supporting performances never outshine Haig, but are competently delivered, especially Beatie Edney as his troubled Queen Charlotte who is repeatedly bullied by the men who surround her. At the other end of the scale Christopher Keegan lowers the tone as the Prince Regent hamming up the character to little above a caricature bringing a disturbing presence to the stage that reminds you of the very worst church hall production.

Haig’s performance is both sensitive and receptive. He responds well to others around him and demands attention not as an overbearing presence but in a measured and controlled way. He moves from one emotion to another at lightning speed, always appearing convincing and in control, allowing correct sympathy to be drawn for his situation. Physically he embodies the character immaculately to the point it becomes disturbing to watch, yet retains the humour of Bennett’s dialogue to the final scene as he begins to recover.

Until ‘The History Boys’ this was probably one of Bennett’s most popular plays, and he writes with wit, pathos and sharp characterisation. Never does the play fall into the realm of a history lesson, and he is the first to draw parallels to literature’s most famous mad king in a hilarious scene that sees George III act out King Lear with the Lord Chancellor. The political repercussions are played out throughout the piece, and some of the more effective moments are the stylised House of Commons scenes that I wish there had been more of. Luscombe keeps the piece too close to historical realism for a modern day audience, and some experimentation with staging could have picked up those scenes that were not blessed with Haig in the limelight.

Overall this is a solid production of a modern classic that defines Haig’s roles as one of Britain’s finest actors. Long may he reign.   

Where I Sat: Dress Circle, D 14. Fantastic seats in the Dress Circle, clear view of the stage. Very central feeling involved with the action.

Recommended: To those who appreciate fine acting within a well oiled production.