Duke of York Theatre – until 27th January 2024
Reviewed by Fiona Leyman
3.5 ***
Have we not all wondered what goes on in our nation’s royal palaces when the doors are closed? The global popularity of TV show The Crown has captivated viewers who yearn to see what goes on behind the closed doors of Buckingham Palace, Windsor Castle, and Clarence House. Given this theme’s success on screen, is it possible for it to work on stage as well?
Award-winning writer Marcelo Dos Santos’ latest comedy, Backstairs Billy, delves into the 50-year relationship between the late Queen Mother and her devoted servant, Page of the Backstairs, William “Billy” Tallon. Queen Elizabeth the Queen Mother, who is grieving the death of her husband, losing her crown, and having to leave Buckingham Palace, finds solace in the companionship of her new 15-year-old servant William Tallon.
Set in 1979, the Queen Mother is going about her everyday business while strikes and riots are breaking out outside Clarence House’s gates. The clear division between master and servant is brought to light when Billy’s less-than-royal antics confronts the Royal Household. Include some ‘boring’ guests and an extremely provocative looking sculpture that Billy’s “Cousin” Ian (Eloka Ivo – To Kill a Mockingbird) has created in the Queen Mother’s hands, things begin to spiral out of control.
Actor Luke Evans (Beauty & The Beast, The Hobbit, The Alienist) makes his stage comeback as Billy, after more than 15 years away. An appropriate part for this charming performer. As Billy, Evans is endearing and extraordinary camp, bringing sass and lots of double-entendres (there are a lot of suggestions to being “Well Hung”!). Throughout the entire show, there is reference to the ongoing joke that there are “Two Queen’s in Clarence House.” Audience laughter erupted when Evans gave a charming impression of the now-King Charles III at the start of the second act. Dame Penelope Wilton (Taken in Midnight, Downton Abbey, Exotic Marigold Hotel) co-stars with Evans as the Queen Mother, who is mostly endearing. The chemistry between them is exceptionally strong for such an unlikely couple, and I believe the play wouldn’t be as appealing without them. As Gwydion “Daff,” the new footman, Iwan Davies (The Corn is Green, National Theatre) is a welcome addition. His amusing facial expressions and timing were particularly noteworthy.
One would expect to find a garden room in a royal residence, like the one that was created by set designer Christopher Oram in The Duke of York Theatre. The Garden Room of Clarence House is a beautifully designed space with extraordinarily towering walls that are adorned with artwork, vintage furniture, and an abundance of flowers. Despite never changing, the set transitions between flashbacks with ease thanks to astute lighting design.
The writing is tolerable and offers a humorous perspective on life behind the palace walls. Wilton steals the show with her sharp sense of humour, charming demeanour, and capacity to reveal the Queen Mother’s vulnerable side. However, the manner in which she addressed Billy in her last scene, revealing her cruel and commanding side, left me with a very unpleasant taste in my mouth. Although I recognise that the purpose of this was to illustrate the hierarchy between a member of the Royal family and their staff, I thought this was unnecessary given the warm and loveable relationship that had been portrayed throughout. Overall, 3 ½ stars is awarded for this adequately pleasant, royally camp play featuring some well-loved faces, adorable corgi’s and some good laughs.