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The BBC has stressed the drama is pure fiction. One scene featuring a furious Camilla — played by Margot Leicester — slapping her stepson William has already provoked ire. Pigott-Smith was nominated for an Olivier and a Tony for best leading actor for his performance. Bartlett said the cast and crew were still in shock over his death.
However, at Marston Moor July 2, Charles lost control of the north; and the following year, at Naseby June 14, the Parliamentary forces led by Oliver Cromwell routed his main field army. Having pacified all England, Parliament turned to the conquest of Ireland and Scotland.
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Since the Catholic Confederation of Kilkenny had controlled Irish affairs and periodically aided Charles. However, any chance of rekindling the Royalist cause in Ireland ended in September , when Oliver Cromwell massacred the combined force of Irish Confederates and Royalists at Drogheda and, the following month, captured the Confederate fleet in Wexford.
The Cromwellian reconquest of Ireland dragged on until the fall of Galway in April because of the outbreak of the third English Civil War. The English conflict left some 34, Parliamentarians and 50, Royalists dead, while at least , men and women died from war-related diseases, bringing the total death toll caused by the three civil wars in England to almost , More died in Scotland, and far more in Ireland.
Moreover, the trial and execution of an anointed sovereign and the presence of a standing army throughout the s, combined with the proliferation of radical religious sects, shook the very foundations of British society and ultimately facilitated the restoration of Charles II in This was the last civil war fought on English—though not Irish and Scottish—soil.
Eric Foner and John A.
Garraty, Editors. All rights reserved. And as we know the dead once dead are gone Forever, all that's left is writing on the Tomb, read by generations still to come The only remnant of what press destroyed — Electric letters scrawled forever on The graveyard of the cursed internet.
English Civil Wars - Definition, Causes & Results - HISTORY
Although a part of this speech remains in the play, most of it was removed, because it occurs too early. We haven't built to this level of passion.
But not only that. It feels too emotive and if spoken on stage, would make the prime minister seem unhinged. It became clear this language — with "remnants", "destroyed", "tombs", "scrawled" and "graveyard" — was simply too much. The vocabulary the characters used, and their verse, even though heightened, couldn't stray too far from the language we would believe them to speak day to day. These are not fairytale characters: we want to believe in them as the real people we know exist. I found the same words cropping up often — just to fill the demands of the metre.
For instance, people were often introduced as "good" "My good prime minister". I also had to avoid lines with monosyllabic words, because, spoken out loud, they expose the rhythm too much. But perhaps more interesting was when the verse compressed meaning, rather than extending it. If King approves it can through boredom work. We make no fuss 'cept that I have moved, got job. I wrote this speech quite fluidly within the scene, but found, because Harry is passionate, he manages to tell the story of what he wants to happen, but also explain the reason for it, all within seven lines.
The language leads, and we only have time to think in its wake. Diana's ghost would make an appearance. But the planning was mainly to make sure the plot significantly moved forward in every scene, and did so through knotty problems that posed deep familial and constitutional problems. This meant that when I came to write the scenes there would be a lot for the characters to achieve through verse — not just explain their position, or psychology, but they would use the language as rhetoric to get what they want.
Finally then, having settled on a plan, I began to write, and ended up pretty much going from beginning to end.
Mike Bartlett: How I wrote King Charles III
With other plays I've written very fast: I'm keen for the energy of the moment to translate on to the page, so characters say things that surprise me. But with Charles III , the verse slowed me down. And I found I loved it. The writing became more considered, rather than impulsive.
James II (r.1685-1688)
The other thing that surprised me as the play grew was that it was defiantly unironic. I found the verse rejected irony, forcing me to take the characters seriously. Another moment that didn't make the final draft but lasted until the first preview, mainly at my insistence was spoken by Charles, just after he sees the ghost. And badly done!
I wanted to see this played in front of an audience, because I was sure this knowing wink was in the Shakespearean mode, and would work well. Sure enough, it got a big laugh, but simultaneously it destroyed the scene. These lines told the audience not to take Charles, or the play, seriously, and that was the opposite of the message we needed. This was the case throughout — the terms the verse and the play worked on were sincere and meaningful. It wasn't a postmodern take on Shakespeare, it wasn't a parody or a pastiche — it was a play, telling a story the audience should care about.