The state of the monarchy

Performing Arts & Entertainment in Canada, Fall, 1997 by Brigid Elson

Audiences at the 1997 Shaw Festival who bought tickets for In Good King Charles's Golden Days were rewarded with a superb production.

The intimate Court House Theatre proved to be a most suitable site for a work set in Sir Isaac Newton's library and the Queen's boudoir. Here it seemed perfectly natural to be eavesdropping on the interplay of a masterful cast whose artistry was of the highest order. Confined as the space was, Allen MacInnis' direction, (aided by wonderfully designed sets and costumes by Charlotte Dean), was so cunning that the cast never seemed trapped or hemmed in by their surroundings.

Singling out the actors for individual praise risks betraying the fact that the ensemble playing was beautifully integrated. However, if only because they had major roles, one can hardly fail to point out that Andrew Gillies as Newton befuddled by a stream of unexpected and unwanted guests was wonderfully comic, while Peter Hutt combined a royal bearing and reflective nature in an utterly convincing performance. Among the minor roles, Brigitte Robinson's handling of the sensual Barbara Villiers made for a very amusing contrast with Newton's rectitude in their scene together. Each of the other actors played their roles with the utmost attention to diction (a must in a Shaw play), and contrasting characterizations.

A comedy about statecraft with an unexpectedly poignant last act, the play had intriguing implications for our time. Thoughtful viewers left the theatre thoroughly entertained but also with much to consider about politics and the monarchy today.

Brigid Elson is a freelance writer who taught a media course at York University for 15 years.