The acclaimed play that inspired the Oscar-winning film returns to the stage in a collaboration between The Birmingham Rep and Chichester Festival.
With the world on the brink of war Britain’s monarch has abdicated his title, on account of his marriage to a divorcee. His shy brother Bertie (Raymond Coulthard) is thrown into the precipice, but his stammer proves a stumbling block. In a world where the wireless dominates and the royal family is now in the public domain more than ever help is needed. Enter Australian speech therapist, Lionel Logue (Jason Donovan) who coaches Bertie to lead his country as King George VI.
Raymond Coulthard’s King George is an acting masterclass. It is clear he has done his research, his stammer is at all times precise and believable, never threatening to mock or stray into waters more comedic. You really get the sense of weight, pressure and expectation upon Bertie’s head in his portrayal. His transformation is great as he opens up to the unconventional help of his speech therapist. Jason Donovan is also excellent as Lionel Logue. His sharp focus never drops as he befriends the king and helps him through his most challenging hours. Donovan proves himself to be a very capable stage actor.
Claire Lams is delightful to watch as Elizabeth, the Queen Mother. She moves around the stage with elegance and her frosty moments directed at Wallis Simpson (Felicity Houlbrooke) are performed to perfection, as are the more tender moments with her husband. Katy Stephens also paints a brilliant picture opposing Elizabeth as Myrtle Logue. The differences yet similarities of the two characters are really brought out to good effect.
There are a few political references dropped in for good measure, which helps to establish the mood of the period as well as adding depth. The witty remarks which we have come to expect from the then Chancellor of the Exchequer, Winston Churchill, ably delivered by Nicholas Blane, are a particular highlight.
The set, with its wooden panels in a semi-circle design, is utilised effectively. It opens up as a number of entrances on differing levels, seemingly out of nowhere, which add to the grand feel that the production requires. The lighting design is atmospheric, perhaps at times leaving the stage a touch under exposed so the actor’s faces are not clear.
Roxana Silbert’s direction is sharp and crystal clear, allowing for a very smooth feel to the production. She captures the essence of the period, as well as the pressure upon Bertie’s shoulders, magnificently. From the start the scene is well set, with Bertie being dressed by two footmen, whilst a maid provides tea and toast. The two hours in the auditorium seems to fly by before you are routing for the new king at the finale. Not a sound is heard in the audience, such is the suspension of disbelief, and the piece comes to a satisfying climax. A defining part of our history, very well dramatised. The performances are thoroughly polished and engaging – truly gripping from start to finish. ★★★★★ Sam Chipman 27/02/15 at Birmingham
Photo by Hugo Glendinning
