Stylishly anachronistic with its contemporary interpretation of chivalry, the Matter of Britain is given a breath of new life as King Arthur contemplates imposing democracy on his successor. More a premise than a plot, this sets in motion a political drama in which the petty wranglings of the court dictate the formation of law.
The tangled web of inner circle alliances begins to tense and writhe as Arthur’s illegitimate son is controversially appointed heir and begins his grooming for statesmanship. Right-wing forces grope opportunistically for an opening as Arthur discovers his grip on a democratic vision is as on wet soap. Essentially it’s a tale of how the most ruthless inevitably fall into place during a realignment of power.
The ensemble cast rush through the early stages in an effort to inject some much-needed energy into the sober plot. Unfortunately this creates quite a burden of attention as complicated relationships are introduced. Still, from there events progress with a noble rhythm and as the plot threads are tied up neatly by the end, the story leaves a hanging scent of perpetual strife in the air. As a result this is both a self-contained tale and a slice of the timeless incremental tumble that is politics. It is certainly talented, if not brilliantly mature writing.
There is a palpable air of arrogance in the production — neo-Shakespearian dialogue delivered with arms hanging limp as though the eyes and mouth are enough to deliver drama, overblown gritted intensity applied to mundane actions, stubborn determination of everything to move at its own pace — all this strives to convince you that you’re seeing something more potent than you actually are. Not that this is a bad show by any means, it’s just not quite as good as it seems to think it is.
3/5 
Bernie Greenwood
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