Best Bit: The conversation between Mark Rylance and his goldfish is particularly humorous

Any boring bits? The second act tends to lag a bit as the king's madness no longer brings tension and humour to scenes

Who would like it? Fans of Mark Rylance and opera, as well as those with an interest in 17th century European history and Jacobean theatre

Who wouldn't like it? Those who prefer plays with a more modern setting - the content and staging are all true to its 1700s setting.

Morning after effect: Longing to escape to a house in the middle of a forest to hear the music of the stars

Mark Rylance holds his audience captive in this excellent part-comedy, part-drama period-piece. The production will delight all senses, with Jonathan Fensom delivering a beautiful set for the Duke of York's Theatre. Basked in candlelight (from real candles I must add), the stage is designed to replicate the intimate setting of the Sam Wannamaker Theatre, where the production previewed earlier this year to sell-out crowds.

And sell-out crowds have once again flocked to see Farinelli and The King, though it is the latter part of the title that holds the biggest drawcard. Rylance is in every sense a king of the stage, his portrayal of the depressed Philippe V of Spain flitting perfectly between child-like confusion and dark, sudden rages. His beautiful but exhausted wife bears the brunt of his mood swings, which drive her to seek out Farinelli's first for selfless, and later for more selfish reasons.

Although the rest of the cast hold their own roles very well against this theatre giant, Rylance's delivery almost evokes the feeling that their lines are merely springboards for his own. But perhaps this can be forgiven when one considers that the crowd at every packed performance is there largely to see him perform. With standing seats at the back of the circles, boxes lining the stage itself, and several seats even available on set above the stage, we certainly become his loyal subjects, whether we want to or not. One clever scene has Rylance's King address the audience directly, perhaps a tongue-in-cheek play at his fame, though as evidenced in his performance, completely deserved.

Alongside Rylance, the other shining star of the production has to be the dual-character of Farinelli himself. The role is split into two, a moving depiction of the character's own internal struggle for self-acceptance alongside his success as a castrato opera singer and the brutal procedure that caused his fame. On the night I attended, the role of Farinelli the singer was performed by Rupert Enticknap, who delivered each aria with such beautiful clarity and precision. It certainly was easy to believe his singing could banish depression, free forbidden love, and even the cure madness both can invoke.