Many a prairie oyster has been consumed at Buckingham Palace over the years. Perhaps done none better than by the popular matriarch of the Windsors, Queen Elizabeth The Queen Mother. With a penchant for a lunchtime gin and Dubonnet, she was a real advocate for ‘drinkypoos’ in the Royal household. This, and other ‘secrets’ of the personal lives of British royalty are shared in The Queen’s Nanny, now performing at the Ensemble Theatre.
Written by Melanie Tait, the story explores the relationship between Queen Elizabeth, consort to King George VI, and the nanny she hires for daughter Princess Elizabeth, later to become Queen Elizabth II. Her name is Marion Kirk Crawford or ‘Crawfie’ for those in the know!
Told chronologically from 1931 to 1988, it’s a fascinating tale about two strong-willed women, each aware of their lot in life and the incredible power imbalance that exists. As expected, loyalty is fickle and depends on the prevailing issues at play. However, they each share a common goal of producing a princess worthy to wear a crown. Princess Elizabeth is five years old when a new nanny from Scotland arrives. Little Elizabeth is enchanted with horses and is keen to see the world that exists outside her cloistered environment. She’s often up till 10.30 pm whilst her parents are having cocktails at the Astor Club. Marion has the common touch and treats the princess to daily experiences such as buying small items in a shop or catching a train with everyday people. The Princess is intrigued to see however, her grandfathers’ image on every coin.
When Edward VII abdicates in 1936, the ‘relatively’ simple life of the Princess is changed forever. With her father now King, the Queen Mother reminds her of her destiny, hoping that one day when she is old, she will be Queen of England and all its realms. Of course, The Queens Nanny is not about the life of Queen Elizabeth II. She is a mere player, like so many others.
Melanie Tait uses key dates in Marion Crawford’s life to highlight the evolving nature of her emotional battle with the Queen Mother. In 1936, Marion falls in love with a bold republican Scotsman George Buckley, but her obligations at the Palace put a brake on any personal pursuits. George asks her to marry him in ’39, however the war intervenes; by 1945, at age 38 she can finally tie the knot with George. Hoping that the Princess, now 19, can be her bridesmaid, the Queen Consort will not permit it. Having done an outstanding job as Nanny, Marion is offered a deal by magazine and book publishers to share her journals, letters and stories about raising the young Princess.
As the years pass and Queen Elizabeth II rejigs the British monarchy, Marion retreats in her small cottage on the road to Balmoral, yearning, year after year, that her child princess, now Queen, will drop by for a cup of tea and a visit.
Perhaps inspired by Shakespeare, Melanie Tait has created a play with comedic, dramatic and tragic elements. One cannot feel anything but sympathy for Nanny Marion; and yet, there is also an understanding of the birdcage-like existence of top royalty. As the young Princess becomes the wise Queen, her mother naturally wins the power play over Marion.
Director Priscilla Jackman’s minimalist staging was inventive. Using easy props like a ladder, blackboard, a carpetbag, doll’s house and overhead train track, the mid-20th century is duplicated effectively. Furthermore, period costumes stood out against the stark set.
The Queen’s Nanny involves an array of diverse characters. Emma Palmer exuded the cunning, calculating and often charming nature of Elizabeth, Queen Mother. The kind-hearted, sensitive yet confident side of Marion was ably captured by Elizabeth Blackmore. Jumping from one character to another with ease was Matthew Backer. From a five-year-old Princess Elizabeth to an American publisher, Matthew traversed genders, ages and dialects with great fun.
Tait’s script is fast and witty. Yet her message in The Queen’s Nanny was politely conveyed. Questions about British class hierarchy, loyalty, privacy, bullying and entitlement were sensibly raised and discussed.
The Queen’s Nanny is an intelligent play which can touch a nerve in those on both sides of the Republican debate. I presume the discussion will continue for some time.
The Queens Nanny plays Ensemble Theatre, Kirribilli until 12 October 2024. Bookings: https://ensemble.com.au
Paul Kiely
For more of Paul Kiely’s writings on theatre, check out Absolute Theatre
Other reviews you might enjoy:
- A Broadcast Coup (Ensemble) – theatre review
- The Regina Monologues (Meat Market Stables)
- Shakespeare In Love (New Theatre) – theatre review
Paul Kiely reviews shows in Sydney for www.absolutetheatre.com.au. He joined the team in 2018.
