Farinelli and The King

A SAMUEL FRENCH, INC. TITLE

Depressed and plagued by insomnia, King Philippe V of Spain lies awake in his chamber. The Queen, desperate to find a cure, hears of Farinelli - a castrato with a voice so divine it has the power to captivate all who hear it. Even Philippe is astonished when Farinelli sings, and begs him to stay. But will Farinelli, one of the greatest celebrities of his time, choose a life of solitude over fame and fortune in the opera-houses of Europe? And will his extraordinary talent prove to be a curse rather than a blessing?

Image: 2017 Broadway Production (Joan Marcus)

Cast Size

1w, 6m
Duration

120 minutes (2 hours)
Target Audience

Adult, Teen (Age 14-18)

Accolades

Nominee: 2016 Olivier Award for Best New Play

Details

Summary

Depressed and plagued by insomnia, King Philippe V of Spain lies awake in his chamber. The queen, desperate to find a cure, hears of Farinelli – a castrato with a voice so divine it has the power to captivate all who hear it. Even Philippe is astonished when Farinelli sings, and he begs him to stay. But will Farinelli, one of the greatest celebrities of his time, choose a life of solitude over fame and fortune in the opera houses of Europe? And will his extraordinary talent prove to be a curse rather than a blessing?

History

Farinelli and the King was originally commissioned by Dominic Dromgoole and produced by Shakespeare’s Globe in 2015 for the Sam Wanamaker Playhouse, London. The production subsequently transferred to the Duke of York’s Theatre in the West End of London, produced by Sonia Friedman Productions and Shakespeare’s Globe, in association with Tulchin Bartner Productions and 1001 Nights. It premiered at the Duke of York’s Theatre on September 14, 2015.

Keywords

Performing Groups

Professional Theatre

Time Period 16th Century/Elizabethan
Features Period Costumes
Duration 120 minutes (2 hours)

Media

“Shimmering Fairytale for grown-ups.” — The New York Times

“A remarkably complicated exploration of the most important question in the arts of the last 500 years, i.e, who gets to go?” — The Chicago Tribune

“It’s not only fun, it’s really about something...The healing powers of music. The durability of love under the most trying circumstances. The belief in forces just beyond our perceptive facilities.” — Deadline Hollywood