Nottingham Theatre Royal – until 10 October 2026
Reviewed by Louise Ford
4****
I just stand still and you colour me in….and don’t forget the Queen of Sheba lipstick.
In the bar last night ,at the Theatre Royal, there was a fair sprinkling of sequins and platform boots, not the audience for the new offering at the Theatre Royal but the audience at the Concert Hall, next door (Mamma Mia! The Musical). The juxtaposition of the two audiences was a good illustration of the importance of clothing as an identifier and for sending a message about who we are and which tribe we belong to.
By Royal Appointment is Daisy Goodwin’s debut stage play, which first aired last year. It is a behind the scene look at the Queen (Jane Asher), her Dresser (Laura Main), her Designer (David Robb) and her Milliner (Matthew Cottle).
It is loosely based on the true story of Angela Kelly who was the late Queen’s dresser. The story draws on the ancient tradition of those closest to the Monach having both power and influence. Although in this play the power lies with the clothes that the Queen wore to a variety of State and public events and the team that put them together.
The play starts at the funeral in 2022, a lone figure in black on the edge of the ceremony. We meet Gigi, who was the late Queen’s Dresser, quietly weeping and mourning the loss of her employer. Her grief is interrupted by the Curator (Laura Matthews), who has been tasked with putting together an exhibition of the Queen’s outfits, unfortunately the official records are incomplete. Does the Dresser have any records of what was worn and why? Of course she does ….. and we start with the Investiture of the Prince of Wales in 1969. Each outfit is put into context by the Curator who does an introduction with key events for the particular year.
To add some extra context there are discussions between the Designer and the Milliner, sometimes these are deeply personal. We learn a little about their backgrounds and personal relationships. At other times it is about the Royal Family and some key events.
All of the audiences and discussions take place in the Queen’s State apartments and a simple sheer curtain helps show case the outfits . The curtain is at times flooded with colour to highlight the outfit being discussed. The set (designer Jonathan Fensom) is static and doesn’t distract from the interactions on stage.
Jane Asher plays the Queen with a quiet calm and elegance. Her transformation as the Queen ages is done with sensitivity and care. Asher is dressed for the most part in a simple tailored dress which is a nondescript “beige”, she fades into the background . However when she tries on her outfits she becomes the central focus of the stage. Thus illustrating the importance of not only being seen but also easily identified.
In contrast Gigi is clad in a smart tailored black dress and is a forthright Northerner ( from Wigan), she grows in confidence as the play progresses and isn’t afraid to speak her mind or make suggestions ( she is the keeper of the Queen’s jewels) for accessories. Towards the end of the play her dreams and ambitions are realised.
My only reflection on the story is that I’m not quite sure what the main focus was so at times it felt a little disjointed.
The show is informative and understated. You are drawn into a private world of privilege, power, intrigue and unlikely friendship. There is also a nice sprinkle of humour, with the Queen becoming quite animated when one of her horses nearly wins the Grand National.