Set
in 16th Century Spain, Friedrich Schiller's play was actually
written in the later part of the 18th Century and has been translated
for this production by Mike Poulton.
The story revolves around two central characters - the outwardly
cold and brutal King Philip II and his son and heir, Don Carlos,
the Prince of Spain. Carlos, an idealist and a free thinker, is
engulfed by a destructive passion for his father's wife, the beautiful
Elizabeth. He is introduced to the audience during a moment when
this all-consuming - and hitherto secret desire - is threatening
to condemn him to a life of misery and wasted potential. Rodrigo,
the Marquis of Posa and the prince's lifelong friend, has returned
from Flanders - where the Protestant population has revolted against
Spanish rule - and is shocked to find his 'amigo' in such a state.
He remembers the boyhood dreams the pair shared of providing a
better life for the people and sets about shaking Carlos out of
his stupor. A proud and noble man, Rodrigo wants his friend to
help prevent the king from stamping down on the revolt in Flanders
with typically terrifying force. He galvanises Carlos into pleading
with his father to allow the prince to go to Flanders to bring
peace there, but Philip contemptuously brushes aside his son's
tearful request.
What follows is a tale of intrigue and plotting as the main characters
come together through a series of cameos that leads to a tumultuous
climax. Rodrigo wins the trust and affection of Philip, tearing
down the king's emotional walls to the point where he hands over
his powers to the Marquis. But unbeknown to Philip, Rodrigo is
intent only on helping Carlos and ensuring the young prince can
sail to Flanders to save the country he loves. Carlos is now revitalised
by the prospect of bringing freedom to Flanders and more importantly,
of seeing Elizabeth, who has admitted to Rodrigo that she can
not suppress her feelings for the young prince any longer.
The king, upon realising that Rodrigo is not interested in receiving
his love, becomes incandescent with rage, and descends into a
state of near madness. He has Rodrigo executed and, after a particularly
chilling conversation with the Catholic Church's Cardinal Inquisitor,
who tells him that "men - souls - are numbers - no more than
that", decides his son must go the same way as Rodrigo.
The most striking aspect of Don Carlos is the sheer quality of
the production and its cast. The music is superb, introduced into
each scene with perfect timing and drawing the audience deeper
and deeper into the heart of the story. Effective lighting adds
to the dark and brooding atmosphere. But it is the actors - as
ever - who bring Don Carlos to life.
Richard Coyle is impressive as the young prince
and Elliot Cowan perfectly encapsulates the nobility and fortitude
of Rodrigo with a stunning performance. As good as these two are,
it is Derek Jacobi, as King Philip, who steals the show with a
thunderous tour de force that holds the audience spellbound throughout.
