REVIEW: King Charles III – at the Festival Theatre, Malvern, from Monday, November 2 to Saturday, November 7, 2015.

WHENEVER a much acclaimed play heads out into the provinces from the capital on the back of considerable critical praise there generally needs to be a little wariness before jumping on the band-wagon.

All that glitters is not always gold - much as the Royal crown here, and there are examples of past award winning plays that have left me wondering ‘how on earth?’.

The dreadful Stones in their Pockets, a so-called comedy, is one that readily springs to mind.

Here Mike Bartlett’s offering is a ‘future history play’ which has already collected Olivier and Critics Circle awards for Best New Play in 2015 and though there are moments when it is a touch boring, a tad drawn out or downright silly, I was gradually drawn into its intriguingly provocative web.

There are moments that will appease or displease those in either Royalist or Republican camp, but one thing for sure is that it does provide food for thought about the future when the Queen is no longer on the throne and we have a King, in this case Charles III.

The play is meant to explore the people under the crowns, the unwritten rules of our democracy and the conscience of Britain’s most famous family.

All the action occurs from the moment Charles accedes to the throne, after our current monarch has died, right up to the actual Coronation. But a lot can happen in those few intervening weeks… and the crowning moment really does have a twist in the ‘tale’.

The play - written in blank verse and holding a hint of a Shakespearean tragedy/comedy - tends to stretch itself in too many directions, has a few messy moments and could be better still shortened through some adequate pruning.

The pillar to the play is a Bill restricting the freedom of the press which the ruling Labour party wants put through Parliament as soon as possible, if not sooner. Charles, concerned at this, is then convinced by Mr Stevens, a weasel Tory leader (Giles Taylor) not to give his consent.

This is the beginning of the scheming and establishment machinations which, with one surprising intervention of betrayal, alter the course of history!

Family squabbles ensue, along with rabble rousing from Republicans and Buckingham Palace guarded by troops with a tank facing down The Mall.

Robert Powell, who appeared a shade uncomfortable in his last role at Malvern as the villainous Abanazar in the panto Aladdin, is in his element this time in the more meaty role of Charles with a commanding portrayal.

Fine performances too from Jennifer Bryden and Ben Righton as the golden couple Kate and William.

A ghostly figure of Diana wafting in and out of the shadows of a stone-clad roundhouse set, she had to be in the story somehow, and having Prince Harry masquerading as a lumbering love-struck oaf who frequents kebab shops did not sit well.

Interestingly Jess, the Republican art student he falls for, has local connections hailing from nearby Callow End. A nice edgy performance from her too.

Overall it could be the Marmite moment again with this play - like or loathe. There is more to like, although there are those shortcomings, but adding to the plus-points are several other enjoyable performances including Tim Trealor’s perplexed Welsh Prime Minister, Mr Evans and Dominic Jephcott’s resigned air as Charles’ secretary, James Reiss.

Prince Charles is the longest serving king-in-waiting in British history. It was back in 2008, when he passed 59 years and 74 days, that Charles reached the same age as his great-great-grandfather Edward VII when he finally ascended the throne on the death of Queen Victoria in 1901.

Charles is 67 this month and it could be he might never be crowned with the Queen still in good health and also the possibility aired in some quarters that there could be a decision to jump a generation to his son William.

Now where have I seen that before?