Synopsis: King John
William Shakespeare
Three controversies marked (and marred) the reign of King John: first, whether he or his nephew Arthur had the right to be King of England; second, John’s resistance to the authority of the Church; and third, the rebellion of the English noblemen, which was a factor in John’s signing of Magna Carta (an event which history has declared major, although Shakespeare ignores it completely).
Shakespeare’s play deals with all three controversies, beginning with the vexed issue of succession. When King Richard “Lionheart” died without a legitimate son to succeed him, the English nobility chose John as their king. He was an adult, had spent time in England and was known to them. The other claimant was a child, the son of Richard and John’s late brother Geoffrey, and had been brought up in the French court. Because there were no strict rules governing succession in the late 12th and early 13th centuries, both John and Arthur had legitimate claims.
When the play begins, King John and his mother, Eleanor of Aquitaine, the most glorious woman of the age, receive an emissary from the French king, demanding that John relinquish the crown to Arthur or face a bloody war. John sends the emissary packing, promising the French “war for war and blood for blood.”
A minor controversy, also about succession, erupts. Robert Faulconbridge insists that his older brother, Philip, is illegitimate and therefore should not inherit their father’s estate. When Philip was conceived, Robert asserts, their late father was in Germany but King Richard Lionheart was definitely present. Eleanor, struck by Philip’s resemblance to Lionheart, suggests that he relinquish his Faulconbridge heritage, take his place in the royal family and follow her to war in France. He readily accepts this change in his fortune and is henceforth known as the Bastard.
The scene shifts to the French city of Angiers, which is loyal to the King of England—although the citizens are uncertain who that king is. The French army, led by King Philip, camps outside the walls. With the army are Lewis the Dauphin (that is, crown prince), Arthur and his mother, Constance.
The English army arrives. After fierce words (which reveal the implacable hatred between Eleanor and Constance), the armies clash, but nothing is resolved. A citizen of Angiers proposes to unite the French and English through a marriage between Lewis and John’s niece Blanche. By agreeing, King Philip must break his promise of support for Arthur.
With Lewis and Blanche married, John’s claim to the English crown is validated. He and Philip join hands, and peace seems assured. Then the arrival of Pandulph, representing Pope's Innocent, disrupts the festivities. Because John defies papal authority by refusing to accept the Pope’s candidate for Archbishop of Canterbury, Pandulph orders Philip to let go of John’s hand and resume the war; he also offers to bless anyone who will assassinate John. In the ensuing battle, the English capture Arthur.
Pandulph, knowing that John can’t afford to let Arthur live, advises Lewis to invade England and claim the crown through his marriage to Blanche.
John sends Arthur to England, attended by Hubert de Burgh, who has the grisly task of burning out the boy’s eyes with hot irons. But Hubert, unable to go through with it, hides Arthur.
As the English nobles demand that King John set Arthur free, Hubert arrives with the news (false, but that is Hubert’s secret) that the boy is dead. The nobles angrily depart. A messenger brings bad tidings: The French have invaded, both Eleanor and Constance are dead, and the nobles blame John for Arthur’s death. When Hubert reveals that Arthur still lives, John sends him to pacify the nobles.
Meanwhile, Arthur, attempting to escape from prison, falls to his death. His body is discovered, driving the nobles to defect to the French invaders. Pandulph and John make a deal to save England from the French: John gives his crown to Pandulph and receives it back from him, confirming that he is king by the will of the Pope. In exchange, Pandulph will persuade Lewis to call off the invasion. While John is ready to trust England’s defense to Pandulph’s influence, the Bastard insists that they prepare for battle. John gives him command of the army.
Lewis, reinforced by the English turncoats, refuses to withdraw, and the two armies clash. John is stricken ill on the battlefield and taken hurriedly to Swinstead Abbey. The rebellious English noblemen, learning that Lewis intends to use them to win, then have them killed, welcome this excuse to return to King John.
The reinforcements from France are lost at sea, and Lewis and his weakened army leave England. At Swinstead Abbey, King John dies. His young son becomes Henry III, with the Bastard to support him till he comes of age. The Bastard promises, “Naught shall make us rue / If England to itself do rest but true.”
Artistic Team/Cast
Director
Scenic Designer
Costume Designer
Lighting and Projection Designer
Composer
Sound Designer
Dramaturg
Voice & Text Director
King John
Eleanor of Aquitaine
Phillip the Bastard
Blanche
Constance
Hubert de Burgh
Lewis the Dauphin and Ensemble
Earl of Salisbury
Robert Faulconbridge, Duke of Austria, Ensemble
Earl of Pembroke and Executioner
King Philip and Ensemble
Chatillon and Cardinal Pandulph
Prince Henry, Melun and Ensemble
Lady Faulconbridge
Arthur
* Member of Actors' Equity Association
One crown,
two contenders,
no winners.
King John is infamous as the villain of the Robin Hood legends. As portrayed by Shakespeare, he is a mercurial enigma—dynamic one moment, standing up to the Pope and expanding England’s power through battle and crafty negotiation; and immobilized by doubt the next, driving his nobles to rebel and laying himself open to his enemies. Famous historical figures, including John’s formidable mother, Eleanor of Aquitaine, dominate this historical thriller rife with corruption and littered with broken promises, shifting alliances and grim deeds of political necessity. Last staged at OSF in 1985, this masterful drama about skullduggery in high places is not to be missed.
“A history brightly colored by a romantic imagination … a play of injured innocence and devious intrigue.”
-- Edward S. Brubaker, former OSF actor and director
Age Recommendations