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The reviews are in for Royal Shakespeare Company’s world premiere of George R. R. Martin’s Game of Thrones: The Mad King, a new play based on novels by George R. R. Martin, adapted by Duncan MacMillan and directed by Dominic Cooke. George R. R. Martin’s Game of Thrones: The Mad King will run at the Royal Shakespeare Theatre in Stratford-upon-Avon until Saturday 5 September 2026.
Plus, check out photos from the show here.
The cast of George R. R. Martin’s Game of Thrones: The Mad King comprises Michael Abubakar (Eddard Stark), Elizabeth Ayodele (Princess Elia Martell), Maxim Ays (Ser Jaime Lannister), Miles Barrow (Benjen Stark), Islam Bouakkaz (Howland Reed), Luke Brady (Brandon Stark), Marty Breen (Catelyn Stark), Sebastian Charles (Owen Merryweather / Ensemble / Puppeteer), Adrian Christopher (Prince Lewyn Martell / Ensemble / Puppeteer), Ronan Cullen (On-stage Swing / Puppeteer), Fred Davis (Qarlton Chelsted / Maester / Ensemble / Puppeteer), Edem-Ita Duke (Oberyn Martell), Simi Egbejumi-David (Ensemble / Puppeteer), Daisy Franks (Cersei Lannister / Golda Whent / Ensemble / Puppeteer), Mariah Gale (Queen Rhaella Targaryen / Lady Shella Whent), Richard Hansell (Grand Maester Pycelle), Daniel Hawksford (Ser Barristan Selmy), Lewis Howard (Ensemble / Puppeteer), April Nerissa Hudson (Ensemble / Puppeteer), Tom Larkin (Lord Whent / Wisdom Rossart / Ensemble / Puppeteer), Chelsea Marie (Ensemble / Puppeteer), Kel Matsena (Ser Arthur Dayne), Shaun Yusuf McKee (Ser Gerold Hightower / Ensemble / Puppeteer), Alexander Newland (Lord Rickard Stark), Hughie O’Donnell (Lord Varys), Huw Parmenter (Ser Oswell Whent), Noah Ritter (Prince Rhaegar Targaryen), Harmony Rose-Bremner (Lyanna Stark), Kate Rowsell (On-stage Swing / Puppeteer), Michael Shaeffer (King Aerys II Targaryen), Tanisha Spring (Ashara Dayne), Tom Stacy (On-stage Swing / Puppeteer), Matt Tait (Ensemble / Puppeteer), Tzarina-Nassor (Ensemble / Puppeteer), Marcello Walton (Ser Jonothor Darry / Lord Tywin Lannister) and Callum Woodhouse (Lord Robert Baratheon).
George R. R. Martin’s Game of Thrones: The Mad King is a new stage epic from the world of George R. R. Martin. Spanning the final years before the events of the novels, this drama reveals a new chapter of Westerosi history.
Clementine Scott, BroadwayWorld.com: The script – by Every Brilliant Thing writer Duncan MacMillan – has a lot of heavy lifting to do to explain all this to those who may be rusty on their Westerosi history, and occasionally slips into clunky exposition, with characters stating their names, hopes, dreams and painful backstories as though in an introductory therapy session.
Gary Naylor, The Arts Desk: If Game of Thrones: The Mad King is not quite an unmitigated triumph, it’s still a must-see show (and, surely, this sold-out run will not be its last). That a production as demanding, on both sides of the fourth wall, can be funded and staged at all in 2026 is a tremendous shot in the arm for UK theatre itself.
Mark Lawson, The Guardian: The review star system can struggle with shows that some might sell their house to see but others would be reluctant to leave home for. This feels like a five-star production for most devoted throners but a three-star for those who haven’t seen the TV series. Thereby, to channel this show’s infectious tones, the Judging One has trod a path between those stellar prophecies.
Alice Saville, Independent: The Royal Shakespeare Company’s stellar stage show has all the thrillingly staged battles, gory deaths and, yes, dragons that the most bloodthirsty fan could hope for. But there’s also a surprising amount of heart – of the warm, still-beating kind – as it lingers on the faces of its fallen.
Steve Southerland, Stratford Herald: Thankfully, the Mad King largely succeeds on all fronts, the uninitiated bedazzled by a multitude of brilliantly staged battles, skirmishes and jousts, each handsomely choreographed. Especially impressive are the giant armoured horses, deftly manoeuvred into conflict by expert teams of puppeteers.
Dominic Cavendish, The Telegraph: I’d like more poetry and, in a way, less puppetry – the elaborate jousting, involving manipulated knight-figures, looks effortful. The evening is over-reliant, too, on slow-motion, freeze-frame and black-outs for its combat scenes. It’s a shame, too, that the music – atmospheric though it is – is recorded. It’s not up there, yet, with the Harry Potter or Stranger Things prequels but, on balance, the Game of Thrones franchise has yet another worthwhile and lucrative spin-off on its hands.
The Times, The Times: The RSC’s theatre adaptation of the George RR Martin tales is plodding, with cheap-looking effects and some questionable acting.
Federica Bocco, Winter is Coming: The result is a three-and-a-half-hour epic, one of immense scale and ambition, beyond that of any theatre production I’ve seen. Every aspect is orchestrated to perfection, with impeccable choreography well beyond fight and dance scenes. The show is incredibly immersive, which was one of Cooke’s non-negotiable aspirations: the main characters are often standing, sitting and speaking from the stands, amid the seats, making the audience feel as if they were real spectators of the tournament and the war.
Average Rating: 80.0%
