The Royal Shakespeare Company (RSC) in Stratford-upon-Avon has begun previews of a new theatrical adaptation of the world of “Game of Thrones,” titled “Game of Thrones: The Mad King.” After multiple delays, the production is scheduled to officially open on August 8. The play, adapted by Duncan Macmillan and directed by Olivier Award-winner Dominic Cooke, explores events set about 15 years before the timeline of George R.R. Martin’s “A Song of Ice and Fire” series, focusing on a key tournament at Harrenhal that introduces younger versions of several major characters.
The adaptation is the result of nearly a decade-long process, initiated with Martin’s blessing while the HBO television series was still on air. The move to stage reflects the unique immersive possibilities theater offers, according to producer Simon Painter. The play is designed as a Shakespearean history tragedy, drawing heavily on the inspiration Martin’s work takes in the English Wars of the Roses, Shakespearean themes, and narrative structures. Cooke, who was approached because of his experience directing Shakespeare and his recognition of the parallels between the source material and the Bard’s plays, said these similarities provided a strong justification for bringing the material to the stage.
Macmillan, known for his contemporary and psychologically driven work, took on the adaptation despite the epic scale and prose source material, intending to preserve the narrative’s psychological depth and theatrical power without adopting Shakespeare’s verse form. The narrative moves beyond the tournament’s immediate events to include the broader consequences and tragedies of the story, evoking parallels to works such as “Hamlet,” “Macbeth,” and “Richard II.”
The production features a substantial cast of 36 actors and incorporates elaborate staging elements, including puppet horses, custom weaponry, and fire effects. The RSC’s involvement lends the production both prestige and artistic resources, including a historic armory and extensive prop and costume collections. Artistic directors Daniel Evans and Tamara Harvey emphasized the thematic resonance of the play’s focus on succession, power, and love with the RSC’s own traditions.
George R.R. Martin himself visited the RSC last December and expressed enthusiasm for the project, calling it an extraordinary honor to see his work staged in Shakespeare’s hometown. The production team has embraced both the need for homage to the source’s rich world and the constraints of live theater, opting for an abstract staging approach to engage the audience’s imagination rather than attempting literal recreations of the televisual or literary fantasy world.
Originally slated for a July 20 preview, the show was postponed due to the complexity of the production, reflecting the challenges inherent in adapting such a large-scale, multifaceted story for the stage. The production aims to attract a broad audience base, including both fans of the original series and traditional theatergoers.
Macmillan has conveyed his ambition for the play to have a powerful emotional impact, particularly on newcomers to live theater. He recalled his own early experiences with Shakespeare and hopes the adaptation will inspire similar awe and engagement, marking a distinctive fusion of contemporary popular culture with classical theatrical heritage.