‘The King’s Speech’ at The Watermill, written by David Seidler and directed by Emma Butler, is a brilliant, sensitive and intimate portrayal of the turbulent years before the outbreak of World War 2. The skilful direction, script, acting and soundscape transport the audience to view the key events – the death of George V, Edward and Wallis Simpson and the struggles George VI has to take on the role of king. The portrayal of the relationships of the central characters is key. Many of us have seen the 2010 film but this is a more heart-felt and thought provoking drama on so many different levels – the nature of kingship, speech impediments, father/son and sibling relationships, feeling an outsider. Moments of tension in the play are juxtaposed with humour keeping the audience riveted and leading to a standing ovation at the end.
At the heart of the play is the relationship between George VI(Bertie) played by Peter Sandys-Clarke and the Australian, Lionel Logue (Arthur Hughes) the speech therapist who uses the unconventional methods he learned from treating veterans of WW1 to help Bertie overcome his stammer. The meetings between the two also serve to show how out of touch the Royal family were with ordinary people. Logue’s insistence on treating Bertie like an equal and Bertie’s struggle with this and his stammer make the audience warm to both characters. Bertie’s abuse by his nanny in childhood and his brother’s condescending/mocking attitude to him are also factors in providing sympathy.
A wealth of historical and social background is conveyed in fast-paced scenes. The role of Elizabeth (played by Aamira Challenger) in supporting Bertie, the chilling Nazi sympathies of Edward(David) played by Stephen Rahman-Hughes and Wallis Simpson (Rosa Hesmondhalg) are evident. Special mention must go to Rosa Hesmondhaig who effectively plays the contrasting characters of Myrtle Logue and Wallis Simpson and switches seamlessly between them.
The gloomy backdrop of the monarchy in crisis and Britain on the brink of war are emphasised when we see Winston Churchill (Jim Kitson) listening to snippets of a Nazi rally on the radio. Yet despite this there is humour in the play. Much of this comes from the pomposity of the Archbishop of Canterbury (Cosmo Lang) played by Christopher Naylor, who sees Bertie’s weaknesses as an excuse for self-promotion.
The use of radio in broadcasting to the nation is key and of course, the source of Bertie’s demons – how can he speak to his people with any authority when he has a stammer? The microphone is in centre position on the stage throughout much of the play with the throne in the background linking the importance of the relationship between the two – a king must communicate with his people.
Bertie’s anxiety in giving a speech is emphasised by his thrumming heartbeat echoing around the theatre whenever he has to speak publically. The final speech that he makes on the outbreak of war is magnificent. Even though we know the outcome the tension is palpable and Sandys-Clarke has the audience on the edge of their seats willing him on one syllable at a time. We are also reminded of just what the world was facing with the Nazi threat as Bertie mention ‘the dark days ahead’ and the fact that war will ‘no longer be confined to battlefields’.
‘The King’s Speech’ runs until November 2. Don’t miss it, book your tickets here.
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