Sep 2010

Nov 2010

The Madness of George III

Starring Simon Ward and Susan Penhaligon
By Alan Bennett
A co-production with Blackeyed and Original Theatre Company

The year is 1786. George III is King. King of England. He has a loving wife; a nation of subjects, a loyal parliament, and the world kneels at his feet.And all is not as it seems.

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About

Mad Kings and Englishmen...

The first tour since its initial production in 1991.When his behaviour becomes increasingly erratic and rumours circulate that he has addressed an oak tree as the King of Prussia, doctors are called in, Parliament falters, and The Prince Regent manoeuvres himself into power.

Exploring the very nature of duty and kingship, this epic play probes the ties that bind us together as family, as society and as a nation. Drama, dangerous politics and English history collide in a rollercoaster ride where the health of the nation is at the mercy of the mental health of one man.


From the hand of national treasure Alan Bennett, the author behind The History Boys and Talking Heads, this marks the first touring production of the play since the original award-winning production

The Cast

Creative Team

Director: Alastair Whatley
Co-Producers: Adrian McDougall, Max Lewendel, Alastair Whatley
Set Designer: Victoria Spearing
Cost. Design: Fiona Davis
LX Designer: Alan Valentine
Sound Design: Edward Lewis
Projectionist: Will Reynolds
Touring PM: Caroline Saunders
CSM: Zachary Holton
Asst PM: Louise Ody
Cost Asst: Margarita Pokhrel, Bronwen Thompson, Natasha Freeman, Louise Sullivan, Samantha Jones, Laura Hockey, Natalie Moggridge
Casting Dir.: Anne Vosser
Fight Director: Dan Styles

Cast

George III: Simon Ward
Queen: Susan Penhaligon
Prince of Wales: Alastair Whatley
Duke of York: Garrett Moore
Pembroke: Portia Booroff
Greville: Robert Curtis
Baker: Ian Marr
Pitt/Pepys: Jamie Hinde
Fox/Warren: Courtney Spence
Willis/Dundas: Knight Mantell
Fitzroy: Rhys King
Thurlow: Zachary Holton
Papandiek: Kate Colebrook

Neil McEwan

"If this is what comes from flying too close to the sun,

then long may they continue"

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Marketing Information

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What does our Community say?

Read our reviews over 22 productions

Trial of Galileo

RemoteGoat

★★★★★
"Icarus Theatre fly into London on waxen wings, which, after this compelling production, show no sign of melting any time soon, A fine production, and a fantastic example of a writer and performer at the top of their game".

How to be a Bad Girl

Deadline News

★★★★
"Chap's cheeky, witty and bold personality shines through as she sings the stories of her own life, and sometimes others - all with wonderful vocal ability and tone that excites and engages the mixed crowd that packed in to the room to see her."
Lucy Samson

Macbeth

Carrick Biz

★★★★
"Five Stars alone are due to the designers of the simple set and the expressive mood-setting lighting and sound. You'll find out what a bane-moon looks like."
David Kerr

Hamlet

Review Sphere

[Their] adaptation truly had rebranded Hamlet for the Game of Thrones age. It was daring and experimental and often risky, but it worked and proved that it is indeed a living and ever fluid piece of literature"
Caroline Malcolm Boulton

Trial of Galileo

RemoteGoat

"Icarus Theatre fly into London on waxen wings, which, after this compelling production, show no sign of melting any time soon, A fine production, and a fantastic example of a writer and performer at the top of their game".

How to be a Bad Girl

Deadline News

"Chap's cheeky, witty and bold personality shines through as she sings the stories of her own life, and sometimes others - all with wonderful vocal ability and tone that excites and engages the mixed crowd that packed in to the room to see her." Lucy Samson

Macbeth

Carrick Biz

"Five Stars alone are due to the designers of the simple set and the expressive mood-setting lighting and sound. You'll find out what a bane-moon looks like." David Kerr

Hamlet

Review Sphere

Icarus Theatre Collective's adaptation truly had rebranded Hamlet for the Game of Thrones age. It was daring and experimental and often risky, but it worked and proved that it is indeed a living and ever fluid piece of literature." Caroline Malcolm Boulton

Many Roads to Paradise

Uk Theatre Web

★★★★★
"For many reason this play should be seen by everyone. Drama students and theatre-lovers alike will applaud fine acting by the strongest of casts, you would pay a lot of money in the West End for a class act like this"
Gene David Kirk

Journeys End

The Public Reviews

★★★★
"Journey’s End’ is very much an ensemble piece and it would be difficult and probably rather unfair to pick out one actor over another. Each and every performance is consummately delivered." Steve Burbridge

At the Mountains of Madness

Ija Pona

★★★★★
"We were treated to a show that was true to the H. P. Lovecraft original and made the hair stand up on the back of my neck. I experienced frisson during last night."

Romeo & Juliet

British Theatre Guide

★★★★
Max Lewendel’s careful direction makes perfect sense of the tricky text, finding as much humour as possible in the early comic scenes. He keeps his actors on the move, each with purpose and justified intention.
Helen Brown

Many Roads to Paradise

Uk Theatre Web

★★★★★
"For many reason this play should be seen by everyone. Drama students and theatre-lovers alike will applaud fine acting by the strongest of casts, you would pay a lot of money in the West End for a class act like this"
Gene David Kirk

Journeys End

The Public Reviews

★★★★
"Journey’s End’ is very much an ensemble piece and it would be difficult and probably rather unfair to pick out one actor over another. Each and every performance is consummately delivered." Steve Burbridge

At the Mountains of Madness

Ija Pona

★★★★★
"We were treated to a show that was true to the H. P. Lovecraft original and made the hair stand up on the back of my neck. I experienced frisson during last night."

Romeo & Juliet

British Theatre Guide

★★★★
Max Lewendel’s careful direction makes perfect sense of the tricky text, finding as much humour as possible in the early comic scenes. He keeps his actors on the move, each with purpose and justified intention.
Helen Brown