The Royal Shakespeare Company has launched a theatrical prequel to the Game of Thrones franchise this weekend at its venue in Stratford-upon-Avon. Titled Game of Thrones: The Mad King, the production is set in the period preceding the events of George RR Martin’s original novel and the television series adaptation.
The production represents a seven-year development effort and features a cast of 36 performers delivering a three-hour-45-minute performance. The narrative focuses on younger iterations of established characters such as Ned Stark, Jaime Lannister, and Robert Baratheon, alongside figures whose stories shaped the broader saga, including Lyanna Stark, Prince Rhaegar Targaryen, and Aerys II Targaryen. The opening sequence centers on the tourney at Harrenhal, a significant jousting competition referenced in the source material.
Critical reception proved varied. The Telegraph and Guardian each awarded four-star reviews, with the latter emphasizing the production’s “spectacular stagecraft” and thematic relevance. Metro and The Independent similarly provided four-star assessments, while Whatsonstage awarded five stars, describing the work as “a triumph” and “a soaring, surging spectacle.” The Times offered a more reserved three-star evaluation, suggesting the script lacked narrative momentum and the visceral qualities of the television adaptation. Reviewers noted that audience appreciation may depend significantly on prior familiarity with the franchise.
Playwright Duncan Macmillan stated the production was designed to function as both a Shakespearean tragedy and history play, appealing to both devoted fans and newcomers. Director Dominic Cooke highlighted thematic parallels with Shakespeare’s historical dramas, including power struggles and dynastic conflict. Martin’s creative team maintained involvement throughout development, with representation present at rehearsals and the author attending the opening performance.
The RSC anticipates the production may follow the trajectory of other franchise stage adaptations, such as Harry Potter and the Cursed Child and Stranger Things: The First Shadow, which have sustained runs in London’s West End and on Broadway. Leadership indicated aspirations for expanded distribution beyond the Stratford venue.
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