The cadence of “Kings” is a little bit Shakespearian, a little bit biblical and a lot sci-fi.
The wardrobe is contemporary, the themes are both modern and ancient. The flags and insignia are indeterminate emblems of fictional nationalities.
The epic tale of power and greed, from executive producer Michael Green (“Heroes”), is relevant to today’s economic quagmires, and timeless as it reworks the Bible’s David and Goliath story.
I’ll admit that I gave up after screening the overreaching opening two hours, then came crawling back, curious. Now, having seen the first four, I’m looking forward to finding out if “Kings” can sustain its lofty pretensions without descending into inscrutable sci-fi or soap-operatic palace intrigue.
It sincerely wants to be something greater — but what?
“Kings” premieres on NBC tonight (locally at 7 on Channel 9) with a two-hour opener.
The kingdom is home to treachery, prophesy, family feuds, nasty politics plus a clamoring media easily spun by those in power.
The King’s son is a bad-boy nightclubber; the son’s rival is an innocent farmboy turned war hero. The decadent monarchy is riddled with secrets in a prosperous capital city you’ve never heard of, in an unspecified time not unlike our own.
The head of the Treasury aims to assert power over the King, who happens to be his brother-in-law. The King’s daughter has an eye for the handsome young war hero, but her mother, the Queen, pushes her instead toward a successful financier.
Put it all together under a framework alluding to the Bible story, though not overtly religious, add a shadowy corporation promoting a lucrative war and thwarting peace talks, and you’ve got a bold drama that may promise more than it can deliver.
Australian actor Christopher Egan plays David Shepherd, a farmer-mechanic who finds himself hailed as a hero in the big city after standing up to a tank on the battlefield. The battle scene is slightly ridiculous but Egan (“Eragon”) is a gorgeous blond in the vein of Benjamin McKenzie on “The O.C.” who belongs on television.
Little David is small, but, oh my.
Nobody sounds more kingly making grand proclamations than Ian McShane (the saloonkeep Al Swearingen of “Deadwood”). The basso profundo delights his subjects and oozes star power in the role of King Silas Benjamin.
King Silas rules the country of Gilboa from the sparkling city of Shiloh (a digitally altered New York skyline), seeking signs of God’s intent and retelling the tale of the time he was anointed by butterflies alighting on his head. His nation is at war with the neighboring Gath. Any treaty will entail giving up certain territories.
The terrific Susanna Thompson (“Once & Again”) is regal as Queen Rose Benjamin, the reserved monarch who believes in presenting the Royals as superhuman, to give the people something to revere.
The supporting cast gives the pilot extra heft. The King’s scheming brother-in-law gets an icy portrayal by Dylan Baker. The King’s smart and beautiful daughter Michelle, played by Allison Miller (“Lucy’s Piano”), is relentless in her pursuit of health-care reform.
The writers even provide comic relief in the form of two palace underlings, a nod to “Hamlet’s” Rosencrantz and Guildenstern.
The problem is going to be keeping the story grand without becoming grandiose.
“People with destinies, things don’t go well for them,” David’s mother warns in hour three. Her kid has a calling.
“Kings” is ambitious and inventive, just what we ask of prime-time dramas. Visually it’s stunning. The trick will be fine-tuning the massive construct to keep it from sprawling out of control.
This is where the British have discovered the benefits of limited-run series. “Kings” might be better as a one-season “event,” rather than engineered, in the American fashion, to churn out 100 episodes in hopes of cashing in on syndication.
Less might be more in a tale this laden with literary, historic and dynastic pretensions. For now, long live “Kings.”
Joanne Ostrow: 303-954-1830 or jostrow@denverpost.com
