|Robert Joy as Charles|
What is it about us Americans that we have such a fascination with the very Crown and its royals that almost 250 years ago we fought a revolution to escape? And when we hear the accented speech of that faraway Isle, why do we tend to go gaga and give immediate credence to whoever is speaking? Whatever the reasons, Mike Bartlett’s 2015 Olivier winning play, King Charles III, that is now opening the American Conservatory Theatre’s 50th season has all the ingredients to wow its San Francisco audiences. The Windsor family members we have glued ourselves to see on TV screens at all hours of the night during weddings and funerals are all there (Charles, Camilla, Princes William and Harry, Duchess Kate, and even Princess Diana). There is near-scandal and open rebellion; inside scoop from within the thick walls of Buckingham Palace and raucous debates of shouting ministers inside Parliament; and a bad boy prince, an adored angel’s ghost, and two royal wives full of ambition for their would-be-king husbands. What more can we Americans ask for at a time when we are universally OD’d with the daily disappointments of our own, current election cycle?