Farinelli and the King--A Castrato Calms A Frenzied King 

By Joseph Cervelli

Those expecting something of a more historical nature in the London import “Farinelli and the King” playing a limited engagement at the Belasco Theater will be disappointed. This entertaining albeit lighthearted show written by Claire Van Kampen which deals with  the relationship between the mad  King Philippe V (Mark Rylance)  of Spain and the famed Italian castrato Farinelli (Sam Crane) touches the surface but never delves much deeper. While Crane speaks the part the remarkable singing is performed by countertenor Iestyn Davies at the performance I attended. James Hall alternates with him. 

Rylance who has one of them most expressive facial reactions of any actor around captures the fragility of the lonely and troubled soul of the king while being quite humorous. When he first appears as the King, he is in pajamas wheeled in his bed fishing in a bowl containing a single goldfish. Looking back on him years later,  it was later surmised he might have been bipolar. He can be zany one moment and then the next have the most outrageous and unwarranted outbursts of anger with an almost chilling affect. His devoted wife Queen Isabella Farnese (a persuasive Melody Grove) is Italian and finds herself at a loss in trying to help him although a perfectly cast Colin Hurley who portrays Don Sebastian De La Cuadra the Chief Minister of Spain hopes with the help of Dr. Jose Cervi (Huss Garbiya) to  get him to abdicate. Yet, as unbalanced as the king appears he is still lucid enough to not relinquish his throne. 

Isabella travels to London where the Royal Opera House of Covent Garden has just been built and Farinelli is the star attraction. Jonathan Fensom has skilfully designed the ornate set which seamlessly moves from outside the palace to backstage at the opera. It is here where Isabella hears the celebrated performer and convinces  him to return with her to Spain convinced his soothing mellifluous voice will have an advantageous effect on the frenzied king. Here is one of the most memorable moments in the show when Philippe first hears him sing. The frenetic king’s immediate impression of Farinelli is dismissive until he performs his first note. The sullen face of Philippe dissipates into a warm almost mesmerizing look. Suddenly, you can see the tension being released from his body. This is certainly Rylance at his best. And what adds to the scene is the gloriously evocative lighting by Paul Russell which is several candle lit chandeliers being raised and lowered throughout the show. Adding to that is the luxuriant  brocaded wardrobe by the U. K. costume coordinator Lorraine Ebdon-Price. 

The second act, unfortunately, adds very little to the storyline which cries out for some complex embroilments between the lead characters.  The King and Queen along with Farinelli retreat to the forest where they lead a silent life with little communication with others. Since there is not much that van Kampen has to say in this part of the play,  she has the audience become members of the village as Philippe interacts with a few of those seated near the stage while we  are there there to be entertained by Farinelli’s silvery voice. This scene which takes up almost all of the second act becomes a bit tedious after a while. It is only when Farinelli,  and here is where the fine Crane excels,  declares his love for Isabella. After she refuses his offer to run away with him, there is a gorgeous moment and one of the best in the play in which while Davies is singing that  Farinelli circles around the Queen creating  almost magnetic force field between them.  It is at this juncture in the play that director John Dove has finally created one of the most  profound moments in the play. 

There is a rather silly scene in which the King leaves the forest on horseback while being  pulled backwards.  And what is a severe letdown is when  we hear of  Philippe’s  demise rather than dramatizing it which could have been a wonderfully conclusive moment. While van Kampen’s quasi historical drama is enjoyable, the play ultimately leaves you unfilled. 

Tickets are available at the Belasco Theater 111 West 44th Street or by calling 212.239.6200. As of this date the limited engagement ends March 25. 

PHOTOS: JOAN MARCUS