Review: GAME OF THRONES: THE MAD KING - RSC Theatre (18/08/26)

Westeros has arrived on stage, and it's just as epic as ever

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It's now been 3 decades since the very first novel from George R. R. Martin's "A Song of Ice & Fire" series of novels, entitled "A Game of Thrones", was released, and with the immeasurable success of its TV adaptation, plus two spin-off series that followed, the franchise has since become nothing short of a global cultural phenomenon; all of this considered, some guise of stage show based on these works feels not only perfectly suited, but long overdue, as Duncan MacMillan has penned a brand new story based on Martin's literary material, incorporating a mix of pre-existing text and original ideas, that masterfully maintain the same colloquial style as both the novels and subsequent adaptations thereof.

Comparative to the events in "Game of Thrones", the main action in this new play takes us back in time by around 2 decades, to a time when house Targaryen ruled the seven kingdoms, however with their grasp on Westeros waning due to the declining psychological state of King Aerys II Targaryen, better known as the titular "Mad King", compounded by diminishing support for the dragon-headed dynasty. Aerys' unabridged mania, protean cruelty, and constant alienation of his closest allies have left the ruling house in disarray, making way for the famed rebellion of future king Robert Baratheon. This is the first time we are seeing these events unfurl before our eyes, with much of the material having previously only been referenced in the canon, so it is immensely exciting for any fans of the franchise to finally see the fall of house Targaryen brought to life in real time.

In relation to the events portrayed in the books and TV show, what came before has only ever been show or alluded to in flashbacks, especially with relation to the title figure whom has been referenced countless times across all other media. MacMillan has had an unprecedented opportunity to fill in a rather major gap in the lore of this quite extraordinary fantasy franchise, and what he has achieved certainly matches the impressive scale of what came before it, especially when it comes to its aesthetic presentation, lighting and sound design, and runtime of almost four hours. Never before has the term "buckle up, you're in for a wild ride" ever been quite so apt...

The company of "Game of Thrones: The Mad King" (credit: Johan Persson)

The word "epic" has been thrown around a lot when it comes to tackling theatrical ventures of a particularly sizeable nature, however I don't think we have ever seen a visual palate that better fits this description; Chloe Lamford's set are gargantuan in size, and provide impressive functionality, with the two balconies that protrude from either side of the gigantic metal ring that encircles the cross-shaped stage a rather inspired piece of design. And costumes by Georgia McGuinness leave no stone unturned where attention to detail is concerned, with king's guard armour and Dornish native dress the biggest standouts from a quite astonishing wardrobe on display. Jon Clark also proves why he's so sought after in his field, transforming the space on many an occasion with some ingenious lighting design.

What truly keeps the heart pumping though is how composer Will Stuart and sound designer Tom Gibbons have combined to mastermind such an evocative, full-bodied soundscape that never lets up, from the subtleties of the more intimate moments, to the feral, ferocious nature of the pulsating battle scenes. It must be expressed just how director Dominic Cooke has managed to orchestrate such a stunning array of creative elements that transport us right into the heart of Westeros, and though, contrary to what we're used to seeing on screen, it may be presented in a more suggestive than explicit manner, he has managed to masterfully bring both the magic and madness of this brutal, often barbaric world to life.

From the moment the giant doors facing the centre of the in-the-round auditorium, and a huge, intimidating royal procession kicks things off, we just know that this is ticking all the boxes. And just like in Martin's original novels, MacMillan shows us just how adept he is at establishing characters, events and lore, in an expertly crafted series of expositional scenes. The characters with whom we have become accustomed in prior media may not resemble the figures we have seen on screen in the past, however that opens up countless opportunities for fresh interpretations of the characters, in many ways instead rejuvenating them and bringing them to new audiences, whilst also appeasing pre-existing fans with remarkably consistent characterisations.

Noah Ritter and Harmony-Rose Bremner (credit: Johan Persson)

In a cast of around 37, many of whom are afforded the spotlight to some degree, we could be here all day lauding the strength of the various acting performances on display, but particular highlights include Noah Ritter as heir to the throne Rhaegar Targaryen, counteracting his father's declining mental state with great empathy yet steadfastness, and a beautiful singing voice to boot, whilst opposite him as eventual wife Lyanna Stark, Harmony-Rose Bremner is truly fierce and unflappable, even in the face of insurmountable odds. Michael Abubakar may be a very different Eddard "Ned" Stark to what many of us may be accustomed, but he absolutely takes the role by the scruff of the neck, and puts his own brilliantly gumptious spin on it, whilst also maintaining the character's unshaken morality and fervent loyalty to his family and closest allies.

If there was one element that I felt didn't necessarily always hit the mark, it was the use of Nick Barnes and Finn Caldwell's puppetry, which worked magnificently well in places, such as during the jousting scenes, and also to depict the enormous size of Ser Gregor Clegane, there were other scenes where it felt unnecessary. The biggest sore thumb that stood out in this instance was the final fight between Robert and Rhaegar, a hugely personal battle with such high stakes, two titans of the seven kingdoms in a face off to the death, so it puzzled me massively why one would diminish the inherent rawness and humanity of this battle by using puppets to distract from this confrontation of gladiatorial proportions.

By this point you will have realised that, for a play totalling around 220 minutes, it's exceedingly difficult for me to be concise in my summation of it, however, more than anything, this speaks volumes about the sheer depth and number of layers that one has to delve into to really say all one needs to say about it. It may have its shortcomings, but nonetheless this is a sensational first theatrical outing from the world of Game of Thrones, one that will no doubt appease fans and newcomers alike; "The Mad King" is a truly epic voyage, and a mighty achievement in how to tell a new story within an established media property.

★★★★☆ (4*)

"Game of Thrones: The Mad King" will run at the RSC Theatre until the 5th of September (tickets) with very limited tickets available

{PR/Gifted tickets}