It looks like a nifty little joke - a mock-Shakespearean history play, written almost entirely in blank verse, looking ahead to the heir apparent's ascension but it turns out to be much, much more. It turns out to be a takedown of the entire British establishment: monarchy, parliament, aristocracy, armed forces, media. In fact, it turns out to be the best British play since Jez Butterworth's Jerusalem. -- Matt Trueman
The most spectacular, gripping and wickedly entertaining piece of lèse-majesté that British theatre has ever seen... Blessed with wit, clarity and moments of deeper feeling. Outstanding and provocative... There is barely a moment when the fizz goes out of the writing and the narrative keeps springing surprises.... Tremendous. --Telegraph
Bold, brilliant and unstoppably entertaining... all the intrigue and forward momentum of a real history play. The grandeur too... King Charles III makes us care, makes us laugh, and no doubt will make us argue too. Theatre doesn't get much better than this. --The Times
A meaty, hilarious, dizzyingly audacious state of the nation political thriller... Elevates the tawdriness of the Royal soap opera into something sublime and serious... A thrilling working through of ideas about modern Britain. --Time Out
Pitch-perfect... Bracingly provocative and outrageously entertaining. --Financial Times
Brilliantly ambitious... deliciously smart... [the] script is a witty amalgam of Shakespearean rhythms and sharp modern colloquialisms. --Exeunt
About the Author
Mike Bartlett is one of the UK's most exciting and inventive young writers. His original plays have been performed at the National Theatre, the Royal Court, and around the UK, and include Earthquakes in London, 13, My Child, Cock (also in New York) and Love, Love, Love. His latest plays, Bull and An Intervention, are published by NHB. He has written adaptations of Chariots of Fire (Hampstead and West End) and Medea (Headlong), and his drama series The Town was broadcast on ITV1 in 2012.