“It is the flow of information from one institution to
another”
Helen Mirren took home the Academy Award in 2006 for her portrayal of Queen
Elizabeth II in Peter Morgan’s film The Queen, so it was perhaps a bit of a surprise
that her reprisal of the role was announced to take place on the stage of the
Gielgud Theatre in The Audience, a new play written by Morgan and directed by
Stephen Daldry. The Audience centres on the custom for the reigning monarch to meet
their Prime Minister every week at Buckingham Palace, a meeting which is held
in complete privacy, and it is this that Morgan has seized upon. The play has just started previews and opens officially on 5th March.
He imagines how some of these audiences might have gone, with strong political characters
and epochal events of the second half of the twentieth century passing through
and the Queen being the only constant, though not unchanging. There have been
12 Prime Ministers during the Queen’s reign so far, 8 are featured here and
even some of those are just fleeting appearances. But Morgan’s selectiveness
and use of a non-chronological ordering pays huge dividends in the development
of the play and of the Queen as a dramatic character.
The fluidity of the timeline has an elegant dynamism and allows the growth of
HM’s confidence as a statesperson to be portrayed in a fascinating way, able to
dip back and forth to show how lessons were learned in the past and how they
refracted through her future. Morgan also uses a young Princess Elizabeth intermittently
to show the personal growth of the woman beneath the crown, the conversations
between the older and younger selves showing the strength of her personality
traits with an understated humour and emotion.
Mirren is superb throughout, never off-stage for more than seconds and
frequently remaining onstage to go through the costume and hair changes that
mark the shifts in time. But what is truly remarkable is the way in which her
performance modulates subtly each time, both physically and vocally as she
offers a potential insight to the internal workings of a sovereign. From the
stiffness of a young Queen still in mourning, to the glorious regality of her
forcing admission of collusion in the Suez affair, to a more circumspect but no
less majestic bearing as the 86 year old she is today, Mirren really is nothing
less than mesmerising.
The audiences themselves are also really well structured, managing to combine
several elements in one. The encapsulation of a Prime Ministerial reign in a
single conversation, capturing the contrasting personal relationships between
them all – the array of social gaffes as they all try to figure out just how
familiar they are allowed to be is simply hilarious and of course, the eloquent
positioning of the Queen’s interventions or reactions to the matter at hand. And
though this is clearly Mirren’s show, there is some genuinely outstanding and transformative
work from some excellent character actors as her PMs.
There’s a titanic battle of steely wills as Haydn Gwynne’s Thatcher coldly
rages against the breaking of convention in the monarch passing public judgement
on the PM which is countered beautifully by a rare expression of heartfelt
emotion which Mirren delivers with pinpoint accuracy. Paul Ritter’s excellent
bumbling as an apologetic John Major is one of the funnier pairings, which sets
the stage well for the explosive reaction to the demise of Britannia and Robert
Hardy’s ailing and officious Churchill is the perfect foil to the young
Queen-elect as she tries to observe her innate sense of duty and the centuries
of tradition yet be the best wife and mother she can.
But it is with Richard McCabe’s extraordinary performance as Harold Wilson that
the show really finds its heart as over a number of encounters, this most
unlikely of relationships deepens into something that becomes infinitely
moving. These scenes really capture the essence of the show, gently suggesting
an emotional development for its lead character that feels plausible yet
respectful and provides a hugely satisfying final note. A more cynical view
might see The Audience as an opportunistic jump on the coat-tails of the Jubilee
feel-good times, but that would be an absolute disservice to this play which is
frequently genuinely funny (and up-to-the-minute topical in its humour),
seamlessly directed by Stephen Daldry in Bob Crowley’s elegant designed set with
its smooth transitions and impeccably acted, not just by Mirren but by its
whole company. Entertaining and enlightening, this is bound to be one of the
most successful plays of the year – book now while you still can.
Running time: 2 hours 25 minutes (with interval)
Programme cost: £4
Booking until 15th June
Note: we sat in the dress circle slips, A3+4 and they were really good seats,
close to the stage, view hardly restricted and rather bargainous in the grand
scheme of prices for this show. Still some available via their website.
Labels: Charlotte Moore, David Peart, Harry Feltham, Haydn Gwynne, Helen Mirren, Matt Plumb, Maya Gerber, Michael Elwyn, Nathaniel Parker, Nell Williams, Paul Ritter, Richard McCabe, Robert Hardy, Rufus Wright