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The Royal Shakespeare Company \u2014 the institution synonymous with the Bard himself \u2014 is turning its attention to Westeros.\u00a0<\/span><\/p>\n Game of Thrones: The Mad King<\/span><\/i>, a new prequel play based on the fantasy universe created by <\/span>George R.R. Martin<\/b>, will debut at the Royal Shakespeare Theatre in Stratford-upon-Avon on July 20 and run through September 5, with an official opening night on August 8.<\/span><\/p>\n On April 2, the RSC <\/span>took to Facebook<\/span><\/a> with the news, writing: \u201cA long winter thaws in Harrenhal, and spring is promised\u2026\u201d<\/span><\/p>\n For those who follow institutional theater, the pairing of one of the English-speaking world\u2019s most revered stage companies with a blockbuster fantasy franchise is a striking creative proposition \u2014 and one with considerable artistic firepower behind it.<\/span><\/p>\n Among the most compelling details in the RSC\u2019s <\/span>announcement<\/span><\/a> is the staging concept. The Royal Shakespeare Theatre will be reconfigured for the production, with the audience seated around a cross-shaped stage.<\/span><\/p>\n \u201cIn a bold new configuration of the Royal Shakespeare Theatre, this show will play on a cross shaped stage \u2013 you\u2019ll be in the heart of the action,\u201d the announcement stated.<\/span><\/p>\n That configuration places theatergoers at the center of the drama rather than viewing it from a conventional remove \u2014 a choice that signals an immersive, experiential approach to the material and a willingness to physically reshape one of Britain\u2019s most storied performance spaces.<\/span><\/p>\n The creative team assembled for <\/span>The Mad King<\/span><\/i> carries significant weight.\u00a0<\/span><\/p>\n The play is directed by <\/span>Dominic Cooke<\/b>, with a script adapted by <\/span>Duncan Macmillan<\/b>. Puppetry and movement are handled by <\/span>Nick Barnes<\/b> and <\/span>Finn Caldwell<\/b> of Lume, the company known for its large-scale theatrical creature work.<\/span><\/p>\n The broader design ensemble is equally notable. <\/span>Chloe Lamford<\/b> serves as set designer, <\/span>Georgia McGuinness<\/b> as costume designer, <\/span>Jon Clark<\/b> as lighting designer and <\/span>Will Stuart<\/b> as composer.\u00a0<\/span><\/p>\n Sound design is by <\/span>Tom Gibbons<\/b>. Casting is by <\/span>Amy Ball<\/b> CDG, with voice and text direction by <\/span>Jeannette Nelson<\/b> and dialect work by <\/span>Hazel Holder<\/b>.<\/span><\/p>\n Additional credits include associate director <\/span>Emily Raymond<\/b>, associa<\/span>e puppetry and movement director <\/span>Scarlet Wilderink<\/b>, period dance consultant <\/span>Francesca Roche<\/b>, creative consultant <\/span>Ti Mikkel<\/b>, associate set designer <\/span>Machiko Weston<\/b>, associate costume designer <\/span>Alex Berry<\/b>, associate sound designer <\/span>Alex Twiselton<\/b> and assistant director <\/span>Lenore Gallegos<\/b>.<\/span><\/p>\n No cast has been announced yet.<\/span><\/p>\n George R.R. Martin has drawn an explicit connection between his storytelling ambitions and the RSC\u2019s theatrical heritage \u2014 framing the collaboration not as a commercial licensing exercise but as an artistic kinship.<\/span><\/p>\n \u201cFor me, the RSC was the obvious choice when thinking about putting a Game of Thrones story on the stage. Shakespeare is the greatest name in English literature, and his plays have been a constant source of inspiration to me and my writing,\u201d he said in February, per <\/span>Entertainment Weekly<\/span><\/a>.<\/span><\/p>\n \u201cNot only that, he faced similar challenges in how to put a battle on stage, so we are in good company. It will be thrilling to watch the events of this new play unfold in a live environment,\u201d he continued.<\/span><\/p>\n Martin also praised Duncan for helping to bring this project to life.<\/span><\/p>\n \u201cDuncan\u2019s masterful script honours the world completely, and I am so excited for both fans of the series, and perhaps people who have never picked up one of my books, to experience this new story in a theatre,\u201d he added.<\/span><\/p>\n The Mad King<\/span><\/i> is set a decade before the events of Martin\u2019s first novel in the <\/span>A Song of Ice and Fire<\/span><\/i> series, <\/span>A Game of Thrones<\/span><\/i>, published in 1996, and Season 1 of the HBO show.\u00a0<\/span><\/p>\n The play centers on the conflict between Robert Baratheon and Aerys II Targaryen \u2014 the \u201cMad King\u201d of the title and father to Daenerys.\u00a0<\/span><\/p>\n That conflict was triggered when the Mad King\u2019s son, Rhaegar Targaryen, seemingly abducted Lyanna Stark, who was betrothed to Robert Baratheon.<\/span><\/p>\n \u201cAt a lavish banquet on the eve of a jousting tournament, lovers meet and revellers speculate about who will contend. But in the shadows, amid growing unease at the bloodthirsty actions of the realm\u2019s merciless Mad King, dissenters from his inner circle anxiously advance a treasonous plot. Far away, the drums of battle sound,\u201d the announcement read.<\/span><\/p>\n \u201cFamily bonds, ancient prophecies, and the sacred line of succession will be tested in a dangerous campaign for power. Who will survive? Who will rise?\u201d the announcement continued.<\/span><\/p>\n Priority and member booking opens April 14, 2026, at 10 a.m. General public booking opens April 22, 2026, at 10 a.m. Early access is available by becoming an RSC member at rsc.org.uk\/join.\u00a0<\/span><\/p>\nWhat to Know About the Royal Shakespeare Theatre<\/h2>\n
The Creative Team Behind \u2018Game of Thrones: The Mad King\u2019<\/h2>\n
George R.R. Martin Draws a Line to Shakespeare<\/h2>\n
\u2018The Mad King\u2019 Story: A Prequel Set Before the First Novel<\/h2>\n
Tickets and Booking for \u2018Game of Thrones: The Mad King\u2019<\/h2>\n