Tom Hooper’s cinematic directorial masterpiece of this original stage play was, for me, the big screen highlight of 2010, so I was extremely excited to see what the stage version of this moving tale had in store. I was also pleased to sample yet another playhouse that I had not been in before. The beautiful Wyndham’s Theatre oozes history, having been built in 1899, yet is more than fit for modern productions, having undergone a tasteful restoration in 2008. The building retains its timeless charm nonetheless; and makes the perfect setting for The King’s Speech.
So many things about this production deserve the highest praise but I start with some of the men working behind the scenes. Anthony Ward’s set was a standout highlight for me. To take such a legendary tale and infuse it with the full use of a modern set, with revolving floor pieces and moving props, is simply genius. The set really brought the whole action to life, and the recurring use of the iconic radio microphone, Bertie’s symbolic adversary, effectively depicted the protagonist’s constant struggle against his impediment. Secondly, sound designer Mic Pool merits recognition. The sound bytes and occasional extracts of familiar pieces of music were perfectly timed and sensitively selected, none more so than the patriotic tones of Elgar’s Nimrod, which brought the play to an emotional close.
The acting in this production was truly flawless, and this is something that one can rarely say with full conviction. Charles Edwards (Bertie) and Emma Fielding (Queen Elizabeth) faced the biggest challenge in trying to emulate yet diverge from the portrayals of Colin Firth and Helena Bonham Carter. They did so admirably, retaining many of the characteristics that made the film such a smash, yet imbuing their roles with their own intellects and mannerisms. This is a point of praise too for director Adrian Noble, who gave a completely fresh insight to this masterpiece. The ‘other’ couple Lionel and Myrtle Logue, played by Jonathan Hyde and Charlotte Randle, had a beautiful and delicate chemistry that counterbalanced the more reserved emotional relationship between the Royal couple. Bertie’s and Lionel’s interactions were at all times entertaining, heart-warming, heart-wrenching and above all, thoroughly genuine. The rest of the cast support magnificently, with special mention to Ian McNeice, for his comedic evocation of Winston Churchill.
It is no mean feat for a stage production to follow on the heels of a worldwide screen hit, and to do so with such a refreshing vision and intuition is most impressive. I urge you not to miss out on this wonderful production.
Continues until 21 July 2012, book here.
Written by a Thoroughly Modern Man, Mark McCloskey.