Oscar and three-time Tony winner MARK RYLANCE "proves again that he is one of the great actors of our age" (Time Out London) in FARINELLI AND THE KING, coming to Broadway following sold-out runs at Shakespeare's Globe and on London's West End. Written by Claire van Kampen and directed by John Dove, this captivating new play "celebrates the restorative power of music and how it can transform us" (The Telegraph).
FARINELLI AND THE KING is inspired by the fascinating true story of Philippe V (Rylance), a Spanish monarch on the brink of madness who finds unexpected solace in the voice of world-renowned castrato, Farinelli. Soon, Farinelli and the King forge a powerful connection, and the celebrated singer must make a difficult choice: return to throngs of adoring fans or perform forever for an audience of one.
Rylance leads an acclaimed cast, including countertenor Iestyn Davies, who "sings with rapturous virtuosity and uncanny beauty" (Independent) throughout the play. Like Broadway's Twelfth Night and Richard III, this contemporary work is presented in the signature style of Shakespeare's Globe - traditional baroque instruments are performed live in a gallery above the stage; the audience enjoys intimate seating with several rows onstage; and the story is told by candlelight, creating an enchanting theatergoing experience and "a pleasure that verges on the sublime" (The Guardian).
It may contain arias from obscure Baroque operas and candlelit chandeliers, but the play is, at heart, a straightforward and sentimental 'bromance,' one in which Farinelli is willing to give up adoring audiences all over Europe to serve at the king's command. It is also a celebration of the power of music to overcome emotional and mental instability. Rylance, who excels at playing sad and strange characters, gives a full-bodied and endearing performance that combines volatile behavior and over-the-top comedy with gentle contemplation. As it turns out, van Kampen, who also did the musical arrangements, and Rylance are married, so it's no wonder that 'Farinelli and the King' is so specifically suited to their talents.
Fortunately, Rylance puts his full arsenal of mannerisms on display to prevent this king from being the royal bore of Madrid. Whenever van Kampen's dialogue turns florid, he gives it a flat modern reading, and throws in an F-bomb. Elsewhere, he vocally stumbles and pauses, and lets dull phrases wither in his mouth for added comic effect. Meanwhile, Grove's queen suffers without giving much range to her desperation other than an occasional eyeball roll or nostril flare. And Crane's castrato remains glum, especially when Davies is singing. Dove delivers an appropriately spectacular entrance for the singing Farinelli at the end of Act 1, but for the most part his direction of the two Farinellis is a major waste of potentially golden opportunities.
2017 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2018 | Drama Desk Awards | Outstanding Costume Design for a Play | Jonathan Fensom |
2018 | Drama Desk Awards | Outstanding Lighting Design for a Play | Paul Russell |
2018 | Drama Desk Awards | Outstanding Wig and Hair | Campbell Young Associates |
2018 | Outer Critics Circle Awards | Outstanding Lighting Design | Paul Russell |
2018 | Outer Critics Circle Awards | Outstanding New Broadway Play | Farinelli and the King |
2018 | Outer Critics Circle Awards | Outstanding Orchestrations | Claire van Kampen |
2018 | Tony Awards | Best Costume Design of a Play | Jonathan Fensom |
2018 | Tony Awards | Best Lighting Design of a Play | Paul Russell |
2018 | Tony Awards | Best Performance by an Actor in a Leading Role in a Play | Mark Rylance |
2018 | Tony Awards | Best Play | Claire van Kampen |
2018 | Tony Awards | Best Scenic Design of a Play | Jonathan Fensom |
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