Seven years after the contentious conclusion of HBO's "Game of Thrones," a new stage play, "The Mad King," is drawing praise for its compelling prequel narrative, potentially offering a measure of redemption for the franchise's perceived missteps. The production, helmed by director Dominic Cooke and writer Duncan Macmillan, delves into the waning days of King Aerys II Targaryen's reign, the pivotal jousting tournament at Harrenhal, and the events leading up to Robert's Rebellion.
"The Mad King" aims to address lingering questions for fans of George R.R. Martin's "A Song of Ice and Fire" series, exploring the era preceding the novels and the acclaimed television adaptation. The play brings to life key characters from this period, including Eddard "Ned" Stark (Michael Abubakar), Lyanna Stark (Harmony Rose-Bremner), Prince Rhaegar Targaryen (Noah Ritter), Princess Elia Martell (Elizabeth Ayodele), Ashara Dayne (Tanisha Spring), and Lord Robert Baratheon (Callum Woodhouse). While figures like Jamie and Cersei Lannister also make appearances, the central conflict revolves around the Stark, Targaryen, and Baratheon families.
The narrative kicks off during a celebratory jousting tournament called by the Whents of Harrenhal. However, the true purpose of the event soon becomes apparent: Rhaegar and loyal members of the Kingsguard are planning to depose his father, King Aerys. Michael Shaefer's portrayal of Aerys captures the king's fanatical nature with a performance that evokes both dark humor and pity.
Cooke and Macmillan's adaptation reimagines familiar characters, imbuing them with greater depth. Princess Elia Martell, often depicted in the novels as a heartbroken figure, is presented here as a politically astute individual navigating a treacherous court. Despite facing prejudice due to her Dornish heritage, she actively seeks leverage even when her position is precarious.
Michael Abubakar's performance as Ned Stark offers a fresh interpretation, balancing the character's inherent sincerity and affection with the staunch, honor-bound demeanor familiar to fans. Callum Woodhouse effectively embodies Robert Baratheon, initially appearing boastful and brutish, but gradually revealing a man grappling with grief and searching for meaning.
Visually, "The Mad King" is a striking production. The cross-shaped stage design immerses the audience in the meticulously crafted sets and costumes. The depiction of Harrenhal's godswood, featuring a twisted tree with a carved face and billowing smoke, contributes to a dreamlike atmosphere. The puppetry is a standout element, particularly the opening scene where noble houses arrive on what appear to be real horses, only to reveal themselves as intricate puppets. A scene featuring a large, yellow-eyed dragon puppet further showcases the technical artistry of the production.
While "The Mad King" excels on its own merits, the review suggests that its impact is best appreciated when disconnected from the later narrative choices of HBO's "Game of Thrones," particularly Daenerys Targaryen's controversial character arc. By judging the play independently, it can be seen as a significant theatrical achievement.
"The Mad King" is currently running at the Royal Shakespeare Theatre in Stratford-upon-Avon, England.