Venue: Ensemble Theatre (Kirribilli NSW), 6 Sep – 12 Oct, 2024
Playwright: Melanie Tait
Director: Priscilla Jackman
Cast: Matthew Backer, Elizabeth Blackmore, Emma Palmer
Images by Phil Erbacher
Theatre review
Marion Crawford worked as governess for 17 years, caring for Princesses Elizabeth and Margaret of England. Although she had published articles and a book about her time with royalty, Crawford remained faithful, never writing a disrespectful or denigrating word. Melanie Tait’s play The Queen’s Nanny is accordingly courteous, in its renderings of a woman’s memories pertaining to a special time. There is no questioning the integrity of Tait’s work, but when it comes to stories relating to the crown, some audiences prefer a more creative approach, as evidenced by the success of titles that have taken great liberties in fabricating anecdotes, to have us truly riveted.
The production is nonetheless vibrantly directed by Priscilla Jackman, who ensures that the staging is beautifully crafted in all aspects. Michael Hankin’s set design is elegant in its simplicity, featuring scale model versions of buildings that help us imagine the rarefied world of The Queen’s Nanny. Costumes by Genevieve Graham are splendidly tailored, to accurately convey the class of people being depicted. Lights by Morgan Moroney are intricately designed, to manufacture dramatic tension, and to represent a sense of opulence. There is an intense sensitivity in James Peter Brown’s music that offer a gravity to the experience, as though a constant reminder that there is always a real humanity at the centre of this show.
In the titular role is Elizabeth Blackmore who excels at finding emotional range, for a personality from somewhere noted for its great restraint. We may not always be interested in her chronicles, but there is an authenticity to Blackmore’s performance that makes everything feel truthful. A very endearing Emma Palmer plays The Queen Mother with delicious aplomb, bringing a valuable flamboyance that keeps the storytelling buoyant and colourful. Matthew Backer is highly impressive as he morphs into a wide range of characters, each one persuasive and beguiling, demonstrating remarkable skill as he imaginatively carves out his portions of the tale.
It is often a mystery, how an artist finds inspiration, and what results from their efforts. We can very rationally map out the kinds of stories we wish to share at our theatres, but we must also be mindful about the restrictions we impose on our artists. There is a freedom that must be afforded to those in the business of creativity, in order that they may discover something astonishing and unanticipated. It is also important to believe that a greater moment can only happen, after the current one is completed. Marion Crawford was only 39 when her time with queens and kings was over. Her subsequent years may not have been documented as extensively, but we have to believe that they remained cherished and meaningful, even as her life had taken on a different complexion.
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