George III’s spiffing catchphrase in Alan Bennett’s dark comedy play was: “What, what?” I loved it that much I’ve played with it as a writing template for this review. “The Madness of George III” was filmed live at Nottingham Playhouse back in 2018 and is available to watch as part of NT Live at Home on YouTube until Thursday 18th June.
“What, what?”
What was it about? Times were very different back in 1788. There wasn’t the understanding and awareness of mental health we have now. In England, King George III was the most powerful man in the world. The King appeared himself at the beginning, sadly however his behaviour became gradually unstable, indicating worrying signs of insanity. His rapidly declining mental state saw selfish politicians and the devious Price of Wales work together to undermine the control of the monarchy – exposing how insensitive and cruel they really are. Meanwhile, the servants and attendants were shocked by the situation and did their best to take care of the King. The story emphasised the anfractuosity of the human mind.
“Who, who?”
Who was involved? Alan Bennett wrote this multi-award-winning play about a man in a position of privilege and power struggling with his own mental health for a number of reasons not explicitly highlighted. Despite the exploration of a dark subject, Bennett retained his amiable writing style and effortlessly balanced funny one-liners with disturbing but thought-provoking scenes. Bennett is perhaps best known for writing other successful plays like “The History Boys” and “The Lady In The Van”. Olivier Award-winner, Mark Gatiss (appearing for the second time this month as part of the NT Live At Home programme), Debra Gillett, and Adrian Scarborough played the main roles. There was no holding back from Gatiss as King George III. You could liken this part to the role of “Hamlet”, it requires the actor to display a range of emotions and subtle variations of expression, and Gatiss went for it. The authority was there when it needed to be, his sense of humour was present at the right point, and his vulnerability was uncovered in key moments. Gillet did a splendid job portraying the part of the sympathetic and loyal, Queen Charlotte. I liked that some male characters were played by women in this 18th century patriarchal society from a representation point of view.
“How, how?”
How did this regal theatrical world come alive? Designer, Robert Jones created a metamorphosing palace which regularly altered to produce various interior locations: from the great hall to the bed chamber. Several set pieces were flown in such as, pillars, a fire place, and big windows. There was a serious tone to the look and feel of the palace; a constant visual cue to royal duties and responsibilities. It would seem King George III never had an opportunity to switch off or press pause, is that why he reached personal crisis point, declaring: “I haven’t lost my mind, my mind is going out of me!” The traditional 18th century costumes complimented the design, renowned for its opulence. This particular period in history saw fashions for elaborate wigs, rich embroidery, and full skirts. The Baroque style scene transition music was just the ticket – as if Handel himself had composed it.
“Why, why?”
Why perform it? I’m sure this play will always be relevant because ultimately it is about suffering from mental health issues. In the past, mental health was more of a stigma and people were publically shamed for it. Medical professionals didn’t know how to make people better: just like in one of the scenes of this play, they tried strapping people into wheelchairs or devices designed to restrain in the hope of neutralising erratic behaviour. People would experience being scalded too. In a recent interview with Gatiss, he was correct to point out that yes, we talk more about mental health now, but the stigma still exists. Research suggests, many people hold onto harmful stereotypes and believe that people with mental ill health are violent and dangerous, the reality is they are more at risk of being attacked or harming themselves than harming others. Stigma and discrimination can further deteriorate someone's mental health. This destructive notion has been exacerbated by the media: representing individuals with mental health problems as dangerous, malicious, criminal, and incapable of living normal lives – when that is not always true. The deeper meaning of the play also conveys that even if you are in a position of power, privilege, and wealth, you can still suffer from mental health issues.
“Good, good!”
Was it any good? Yes, yes to “The Madness of George III”. Gatiss gave a majestic and magnificent central performance as King George III in a dark comedy which was relevant, vital, and brutal in parts.
Reviewer - Sam Lowe
on - 12/6/20
No comments:
Post a Comment