Game of Thrones: The Mad King at Royal Shakespeare Theatre Review
Game of Thrones: The Mad King production images by Johan Persson.
It’s an exciting day in Stratford – Upon – Avon, as press, audiences and household names gather for a world premiere like no other. This is of course, the opening night of George R.R. Martin’s Game of Thrones: The Mad King, adapted by Duncan Macmillan, and it’s safe to say the Royal Shakespeare Theatre is abuzz. Can this show possibly live up to its infamous preceding chapters, or will it prove to be nothing more than a sweet summer child?
Game of Thrones: The Mad King depicts the long-awaited direct prequel story to the main series. Set some 17 years prior to the events of the much-loved books and subsequent television show, we meet the familiar cast of characters at a crucial time of their history – the final years of King Aerys II’s reign, otherwise known as the mad King. As his eldest son, Prince Rhaegar Targaryen, realises the full extent of his father’s descent into madness, he begins to conspire with members of the king’s guard to enlist the support of other houses in overthrowing Aerys and taking the throne. At a smokescreen tournament held at Harrenhal, the conspiracy grows as betrothals are made and betrayed, princes born, and politics laid bare in the form of jousting. When Rhaegar meets Lyanna Stark for the first time, the pair realise that maybe their true destinies aren’t the ones written for them, but something much greater. As their forbidden union proves to be the spark that ignites a rebellion, lives are lost while others change forever – but does anyone really win in the game of thrones?
From the moment you step into the auditorium, it’s clear that this is a spectacle unlike anything you’ve seen before. Seating has been arranged in the round to centre on a colossal four-sided structure that is grey and foreboding, stretching the entire length and height of the space. Set designer Chloe Lamford has delivered a fitting and versatile base for the action of this piece, with giant castle-esque doors, foldable balconies, and retractable pits that deliver both trees and iron thrones. Combined with Jon Clark’s lighting, the result is an incredibly impressive and dramatic backdrop that carries the story in a way befitting the era. The ascension of King Aerys atop the Iron Throne through the floor was a particularly chilling, ‘wow’ moment. The production also features some remarkable puppetry, designed by Nick Barnes and Finn Caldwell, providing some phenomenal jousting scenes that allow the actors to actually be astride ‘horses’. The whole show has an unbelievable production value that feels rare, something which audiences would be remiss not to be excited by.
This production comes with a hefty runtime – around 3 hours 45 minutes including an interval – but does a beautiful job of captivating you so that you neither notice nor mind. What makes this show feel so special is not only the scale of the production, but also the quality of the performances and dedication to the established story. The Game of Thrones universe has a reputation for complicated histories, entwined family trees, and far too many names to reasonably keep track of. However, this script focuses on the big hitters from the tv show – and events that even a casual viewer will have a basic knowledge of – allowing audiences to follow along comfortably.
The cast have been well assembled, and do a wonderful job of paying homage to already established characters that have been portrayed by some of the industry’s biggest names, while also making the roles their own. Michael Shaeffer brings a quiet storm to King Aerys, striking a balance between insanity and simple cruelty that will leave you morally conflicted. Noah Ritter feels particularly apt as Prince Rhaegar, delivering an equally thought-provoking performance as perhaps the only honourable Targaryen in his bloodline. The climax of this story centres around the mothers – their love, their sacrifice, their duty, and often, their invisibility next to the follies of men. It is their performances that feel the most relatable, and at times heartbreaking, with special mention going to Elizabeth Ayodele as the tragic Princess Elia Martell, and Mariah Gale as Queen Rhaella Targaryen, who delivers a monologue on womanhood that leaves the entire room silent. Truly, each actor could be mentioned individually for what they add to the story, which is a credit in itself to the team behind this glorious show.
Overall, its genuinely hard to find the words to sum up quite how stunning this piece of work is, and how much fans of the established universe will be enchanted by it. This is a truly thrilling, gripping masterpiece of theatre, and should serve as a masterclass of adaptation for those wishing to try their hand in the future. One can only hope that this production lives a long and prosperous life beyond this initial run that does justice to the amount of passion that has clearly been poured into it. After all, summers don’t last forever – winter is coming…
Game of Thrones: The Mad King plays at the Royal Shakespeare Theatre until 05 September 2026.
★★★★★
Written by Roni for Theatre and Tonic, August 2026.
