Farinelli Charms the King and the Audience
Farinelli and the
King, now at the Belasco, is a wonderous play. It is slightly magical,
beautiful musically, a little funny and utterly charming without being twee. By
way of ingenious use of staging, candlelight and proscenium build out, the
Belasco feels intimate, although I would avoid the balcony for this show.
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Mark Rylance plays the King of Spain who suffers from delusions
and depression. The show opens with Mr. Rylance having a discussion with a
goldfish, a moment he can’t distinguish between dream or nightmare. The
audience can feel the weight of his position in the soliloquy. As King he is as
trapped in his role as the goldfish is trapped in the bowl.
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| Farinelli (Sam Crane), left, and King Philippe V (Mark Rylance |
Mr. Rylance is once again charming in a period role. He can
transition from funny to enraged to incompetent in a flash. The Queen (a lovely
tempered Melody Grove) wants to help her King recover and keep the monsters,
imagined and real, at bay. The royal
court, embodied by Edward Pell as his chief minister – in over the top outfits
and wigs, but a measured performance, are ready to force the King to abdicate.
The chief minister dispatches the Queen to take over the court.
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In London, the Queen hears the Opera star Farinelli, and is
convinced that his voice will help to stabilize the King. When Farinelli does
arrive and sing, the moment is transformative. Watching the King listen to the
music the audience can see the beauty and calmness spread across his face, and
the relaxation in his carriage. Farinelli is played by Sam Crane in a touching
performance as he grows to love the King and the Queen. Farinelli is sung,
marvelously, by Iestyn Davies (or the equally sublime James Hall). During the
moments of song, the actor and the singer concurrently playing Farinelli: they
dress the same, and Mr. Crane follows the singer’s lead in demeanor and gesture.
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Farinelli joins the King and Queen both in court and later
when they take up residence outside Madrid. The King is able to recuperate, and
Farinelli drops his mask as performer to embrace his full personality. Of
course, Kings have responsibilities, and their time away from court must come
to an end, but it was a moment that was precious to the three and a joy to
watch.
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Farinelli and the
King feels like a momesnt captured in amber, a bit dreamy and
otherworldly in the best possible sense. Director John Dove gives the play room
to grow organically from the actors involved. Jonathan Fensom’s designs enhance
the feeling of being let in on a small secret performance. I am not an Opera
fan, but Mr. Davies’ performance of Handel’s pieces are like small presents from
the past to us today.
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Farinelli and the
King | Playwright: Claire van Kampen| Director: John Dove | Cast: Mark Rylance, Sam Crane, Melody Grove, Huss Garbiya, Colin Hurley,
Edward Pell, Iestyn Davies, James Hall