King Charles III ***

Playwright Mike Bartlett, whose plays “Cock” and “Bull” had successful New York runs, certainly deserves an “A” for audacity. In this ‘future history play,’ now on Broadway, he speculates on what might happen when Queen Elizabeth II finally leaves the scene. His portrayal of the surviving royals is less than flattering, so it is a tribute to British openness that this play could even appear on a London stage, let alone win a bunch of prizes. To up the ante, Bartlett has written the play in blank verse and filled it with allusions to several Shakespeare plays. When the aged Charles (a fine Tim Pigott-Smith) at last becomes king, the first thing he does is provoke a crisis by his principled but ill-advised refusal to sign a privacy bill that Parliament has passed because he feels it is too restrictive to the press. Considering the treatment by the press that he had endured over the years, his stand is ironic. During the more satirical first act, we meet all the members of the immediate royal family whose portrayal both supports and subverts our preconceptions, as well as the prime minister and the leader of the opposition. The 11 other cast members, all from the West End production, (Anthony Calf, Oliver Chris, Richard Goulding, Nyasia Hatendi, Adam James, Margot Leicester, Miles Richardson, Tom Robertson, Sally Scott, Tafline Steen and Lydia Wilson) are excellent. As the crisis deepens, the second act turns darker and more Lear-like. The splendid production, fluidly directed by Rupert Goold, has a simple but effective set by Tom Scutt with a large carpeted dais surrounded by stone walls with a few doors. There is a band high on the walls that at first looks like it is composed of round stones, but when the lighting changes they are revealed to be the suggestions of faces watching the action. The costumes are mostly black except for the ceremonial outfits worn on occasion by the three male royals. We are also treated to live music by Joyce Pook, played by two musicians in one of the boxes. The play has interesting things to say about the role of royalty in the 21st century and the current state of life in the UK. However, if you are not a devoted Anglophile or an avid follower of the royal family, you may find the evening a bit tedious. Running time: 2 hours, 40 minutes including intermission.

Bull *

(Please click on the title to see the complete review.)
The latest production in 59E59's Brits Off Broadway series is Mike Bartlett's companion piece to his clever play "Cock (a/k/a The Cockfight Play)." Like the earlier play, this one, subtitled "The Bullfight Play," takes place in an arena-like setting. The arena in "Cock" actually resembled a bullring more than this set, which looks more like a carpeted boxing ring with a water cooler in the corner. There's a low glass wall around the playing area for a portion of the audience to stand behind. The setup is simple: three employees are about to meet their boss Carter (Neil Stuke) to find out which one is going to be fired. The icy Isobel (Eleanor Matsuura) and the smooth, devious Tony (Adam James) take turns tormenting the milquetoast Thomas (Sam Troughton) until he can endure it no longer. Apparently "bull" is really short for "bullying" in this instance. Toward play's end, Isobel makes a case that victims of bullying deserves it, because it is a necessary Darwinian tool for culling the gene pool. The actors are all first-rate, but the proceedings are too nasty for my taste. I fear that Bartlett has lost his way, giving too much attention to set design gimmickry and too little attention to substantive playwriting. Claire Lizzimore's direction is assured. Running time: only 55 minutes, but that was more than enough.

Cock ****

(Please click on the title to see the entire review.)
The sensationalistic title of this British play by Mike Bartlett, now in previews at the Duke, may sell tickets, but it ill serves the play by coarsening audience expectations. Those who arrive expecting nudity and graphic sex will go home disappointed. The actors remain fully clothed and physical contact between them is sparing. In the play's sexiest scene,  the only body parts to touch are foreheads. The plot revolves around John (Cory Michael Smith), a youngish gay man who is tired of being a trophy boy and who, during a brief split from his longtime lover "M" (Jason Butler Harner), meets and begins an affair with "W" (Amanda Quaid), a divorcee. Vacillating between his two lovers, John is finally forced to choose at an awkward dinner at which the three are joined by M's father "F"(Cotter Smith). The staging contributes greatly to the play's impact. A five-row wooden circular arena fills The entire Duke Theater. There are no sets or props and the house lights remain on. The short scenes are punctuated by an electronic tone. The actors are like combatants in a high-stakes competition. The rapid-fire dialogue is voluminous and often very funny. The acting is simply superb, reason enough to see the play. Never have I seen American actors so comfortable with British accents. James Macdonald, who directed the Olivier-winning Royal Court production, does an outstanding job. The ending will probably satisfy no one, but that almost doesn't matter. The play raises complicated issues and treats them both intelligently and humorously. Running time: 95 minutes without intermission. Warning: the stadium-style seating has no seat backs and only a thin foam cushion. If your back needs support, get a seat in the last row.