ABSTRACT
Modern critical discussion has rediscovered the political seriousness of tragicomedy, a genre long treated with dismissive scepticism. In the case of Philaster and A King and No King, this seriousness centres on questions of rule, particularly the issues of monarchical absolutism and royal prerogative. In addition, transgressive sexuality, gender identity and the manufacture of ‘alternative facts’ feature prominently, suggesting the potential for rewarding explorations of both plays in the contemporary theatre. All of their modern British productions have been staged by student companies, and in most cases the critical response gave no indication that the plays’ political resonances were explored. This chapter examines four British productions of Philaster and one of A King and No King from 1947 to 2005, plus two more recent American productions of the latter for the sake of balance.
