Mark Rylance, hailed as one of the greatest stage actors of a generation, is an even bigger theatre box office draw since the British public tuned in to watch his acclaimed performance as Thomas Cromwell in the recent BBC2 television adaptation of Hilary Mantel’s Wolf Hall. Rylance is currently in the West End reprising his role as King Philippe V of Spain in Claire von Kampen’s debut play Farinelli and the King, following a sell-out first season at the Sam Wanamaker Playhouse earlier this year.
Telling the true story of King Philippe V of Spain’s madness and the improvement he underwent on his wife Isabella recruiting the renowned castrato Farinelli to sing for him, it’s a play that might recall two others, also based on true stories and focussing essentially on the bond between monarch and servant; Alan Bennett’s The Madness of King George III in which Dr Willis is charged with curing the king’s insanity, and, although set in relatively modern times, David Seidler’s The King’s Speech, which tells of renowned speech therapist Lionel Logue’s battle to help George VI overcome a humiliating stammer. Both plays have a wonderful energy and wit in common, along with a touching relationship between the king and queen, and Von Kampen’s Farinelli and the King seems like the final part in the trio of royally-themed modern classics.
From the talented Baroque musicicans to the exquisite costumes and set design by Jonathan Fensom, which includes red drapes swathed across the balconies of the Duke of York’s Theatre, this entirely candlelit production wastes no time in inviting us to re-imagine the court of King Philippe V in 18th century Spain. It opens with Rylance showcasing his unsurpassed comic timing and subtlely by portraying the king fishing from a goldfish bowl, whilst proceeding to talk philosophically to the fish in question. He is suffering from insomnia and madness, which the queen attempts to reassure his ministers is only an ‘inflammation of the brain’, but their increasing exasperation and eagerness to hasten the king’s abdication is all too apparent. Only ‘Maestro’ Farinelli’s heavenly voice can pull him back from the brink…
Farnielli gives up a life touring the opera houses of Europe in order to restore the monarch’s health, much to the dismay of librettist Metastasio (Colin Hurley), but on it being suggested to the king that asking him to sing at all hours of the night is unreasonable he responds with the immortal line, “Well, I’ve been ‘kinging’ all night.” And whilst this play boasts innumerous gags you’d like to pull out of your hat at dinner parties, it never verges on the camp (not easy when on the subject of a castrato singer), with the entire cast boasting a wonderful naturalness, even when addressing some members of the audience directly. Rylance receives first-rate support from Melody Grove as Queen Isabella, Edward Peel as advisor De la Cuadra and Sam Crane as Farinelli, with Iestyn Davies once again doubling up as the singing version of the character, who performs many of the exquisite arias sung by singer in the 1730s, including Handel’s ‘Lascia Ch’io Pianga’.
One can only hope that it won’t be Van Kampen’s first and only foray into the world of playwrighting, who, aside from having created music for over 45 productions at Shakespeare’s Globe, where she is the founding Director of Music, also happens to be Mark Rylance’s wife. She was clearly writing with her husband in mind here, for so clear is the synergy between the script and his effortlessly brilliant performance. Van Kampen was fascinated by Farinelli’s history; from a boy of ten who was castrated on his elder brother’s orders, to his decision to relinquish a career as one of the most celebrated (and well paid) stars of the 18th century opera circuit on King Philippe urging him to live in a wood and sing only to him, his wife and the stars. Aside from some modern vernacular (a questionable use of swear words), it would be utterly beliveable to imagine that this play had been written during the century in which it is set, with van Kampen possessing a craftsman-like skill for memorable and period-sounding dialogue.
Produced by Sonia Friedman and Shakespeare’s Globe this is one of those rare plays that is both lighthearted and oozing intellect, with a cast, design, and direction harmonious in their ability not only to do justice to a strongly written work, but enhance it by drawing on the chemistry and talent between them. It won’t make you feel like you’ve solved the mysteries of the universe (it never intended to), but with an extraordinary atmosphere, laughs-a-minute and an acting masterclass from Rylance thrown in, Farinelli and the King is one of the most enjoyable plays I’ve seen in a long time and fully deserved the standing ovation it received on press night.
Farinelli and the King at the Duke of York’s Theatre, St Martin’s Lane, London, WC2N 4BG until 5th December 2015. Running time 2 hours and 20 minutes including an interval. For more information and tickets visit the website.
