David Seidler’s play The King’s Speech is totally engaging. It’s set in the 1930s when the country is on the brink of war with Germany and in political chaos. Bretta Gerecke's gorgeous design perfectly reflects the period with dark wooden planks that fill the stage, and every inch of the Watermill’s stage is creatively used.
The monarchy is in disarray; King George V has died, conveniently in time for his death announcement to appear in the morning edition of The Times. Jim Kitson portrays the pompous King and also gives a commanding performance as Winston Churchill.
The King’s heir, Edward VIII (Stephen Rahman-Hughes), totally captures his playboy style. He causes a constitutional crises when he announces that he’s going to marry the twice-divorced American Wallis Simpson (Rosa Hesmondalgh) and is forced to abdicate.
Consequently, the throne passes to his younger brother. Peter Sandys-Clarke gives an impeccable performance as Bertie, who has suffered from a stammer since a boy and the thought of giving public speeches horrifies him, especially since it’s now broadcasted through the invention of radio.
As a last resort, his wife Elizabeth (Aamira Challenger) seeks help from an Australian speech therapist, Lionel Logue, outstandingly played by Arthur Hughes, to help Bertie overcome his impediment.
The nub of the play is the relationship between these two men of very different classes, and the chemistry between them is electric. Lionel’s unconventional approach in convincing Bertie that he “has a voice that needs to be heard” is painstakingly unfolded. He wanted to be an actor but had little success in his quest to achieve this.
The Archbishop of Canterbury, Cosmo Lang (Christopher Naylor), discovers that Lionel has no academic qualifications and accuses him of being a fraud, but Bertie dismisses this claim and continues with his huge personal challenge to deliver his radio broadcast on the outbreak of WWII live on the BBC.
Emma Butler’s impressive direction is pin-sharp and is complemented by Robin Colyer’s powerful sound design and Ryan Day’s emotive lighting.
This is a moving, astute production that is simply unmissable.