Daisy Goodwin’s By Royal Appointment arrives with a premise as elegant as its subject: Queen Elizabeth II, not in grand pomp or political turmoil, but in the quiet companionship of her staff and the subtle power of her wardrobe. Based on real events, the play offers a charming peek behind the curtain, or, more precisely, into the royal dressing room.
Anne Reid steps into the sensible shoes (and perfectly tailored coat) of the Queen with effortless grace. A national treasure portraying a national treasure. Reid doesn’t just impersonate Her Majesty; she inhabits her, capturing that elusive mixture of warmth, wisdom and quiet steel. The Queen we see here is a fashion icon, yes, but also a woman who used her clothing as a kind of wordless diplomacy, a walking message board of brooches, brights and beautifully judged statements.
The costume design deserves its own round of applause. Each outfit is an exceptionally detailed emulation of the Queen’s original ensembles, meticulously matched to the photographs projected onto the backdrop. It’s an elegant touch that reminds us just how deliberate and meaningful her fashion choices were, and what a cultural compass she became.
Caroline Quentin gives a spirited and grounded performance as The Dresser, a loyal confidante with just the right mix of affection and exasperation. But it’s James Dreyfuss as the Queen’s flamboyant milliner who struts away with the show. Every entrance is a delight, every line delivered with the theatrical flourish of a man who knows a good hat can solve almost anything.
Jonathan Fensom’s set design gently transports us to the heart of Windsor or Balmoral, cleverly evoking the Queen’s preferred homes. There’s a poignancy to these choices. These weren’t just royal residences, but places where she was simply herself. The warmth and subtlety of these settings ground the play in a sense of intimacy and nostalgia.
That said, By Royal Appointment isn’t entirely fit for parade just yet. The script occasionally lumbers, with moments that feel more school assembly than West End polish. The Curator character, who steps out of the action to address the audience, adds an unnecessary layer that jars with the otherwise intimate tone. Technical hitches and the odd fluffed line didn’t help matters on press night, though these can be forgiven in a new play still finding its feet.
Despite the wobbles, there’s a warmth here that carries the piece. Goodwin clearly admires the Queen, and so do we. Watching this, one feels that same odd pang many of us shared when she died. We had simply imagined she’d always be there. In By Royal Appointment, she is, and she’s quietly magnificent.
A few stitches need tightening, certainly, but with some thoughtful tweaks, this could become a lasting tribute to the woman who wore history as well as she wore a headscarf.
By Royal Appointment is at Cheltenham until 21 June before continuing on its UK tour.