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Forging George

Photo by Wilson P. Graham

The King and They: Frank Diamanti (seated) plays George III with help from Michael Afendakis and Ray Ruth.

Palo Alto Players muffle the action in 'The Madness of George III'

By Anne Gelhaus

In a play like The Madness of George III, in which the bulk of the action is driven by conversation, it goes without saying that the actors involved must be compelling speakers for a production to keep the audience's attention.

Unfortunately, only a fraction of the Palo Alto Players' ensemble cast is strong enough to make playwright Alan Bennett's expository dialogue come alive, and even these actors are at times beset by diction and projection problems. Instead of getting caught up in all the behind-the-scenes backstabbing and deal-making in the court of King George III of England, the audience gets mired in trying to understand what's being said.

Bennett's script offers the most fleeting of glimpses into the life and mind of King George (Frank Diamanti) before his mysterious mental illness sets in, leaving a lot of room for an actor to develop and interpret the character. But the usually capable Diamanti does little of either, and his king is a fairly one-dimensional man.

Drew Anderson fairs better as Pitt, the king's second-in-command. His struggle to keep the Prince of Wales (a foppish David Cottingham) from assuming the throne is by far the most intriguing battle waged by members of parliament during the king's illness. His exchange with foe Fox (Joe Higgins) is the most riveting scene in this otherwise flat drama.

It's too bad this scene comes about three-quarters of the way through the three-hour drama. By that time, the audience is rooting for the king's recovery not so much out of sympathy but in the hopes that the play will finally come to a close. Even after King George resumes the throne, however, the play continues with a seemingly unending number of codas. Director Barbara Cannon should cut the last scene entirely, since all it involves is the king assuring his queen (Murphy Larson) for the umpteenth time that he is well again.

Much better to leave things in the hands of Paul Cosentino, who does a wonderful job as the opportunistic manservant Fitzroy. If audience applause is any indication, Cosentino's snide parting remark is a perfect place to bring down the curtain.

It would help to move things along if the action actually seemed to move to different physical locations, but Hunter B. Jameson's set always looks like the royal palace, even if a scene is supposed to be taking place in someone's apartments or the offices of Parliament. Like the entire production, the set is too big to support itself.

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The Madness of George III plays Wednesday-Saturday at 8pm, Sunday at 7pm (Jan 28) and 2:30pm (Feb. 4) at Lucie Stern Theater, 1305 Middlefield Road, Palo Alto. Tickets are $16-$18. (415/329-0891)


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