BACKSTAIRS BILLY at the Duke of York’s Theatre

★★★★

“Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated”

William Tallon started writing letters to the Royal Household, asking for work, when he was aged ten. His dream was achieved five years later, in 1951, when he was invited to Easter Court at Windsor, then Buckingham Palace. After the death of King George VI, he followed Queen Elizabeth the Queen Mother to Clarence House, where he remained until her death in 2002. During his time, he earned the nickname “Backstairs Billy”, having risen to the position of ‘Page of the Backstairs’. His service and devotion have seeped into popular culture, spawning a Channel 4 documentary two years after his own death, and now Marcelo Dos Santos’ new play in the West End.

Set at the end of the 1970s, Michael Grandage’s production comes dressed as a gentle comedy – almost a farce – but has an extra-strong kick to it beneath the surface. Much like the cocktails Billy serves to The Queen Mother’s guests; all sweet cordial yet with a hidden punch that takes you by surprise. We meet Billy (Luke Evans) presiding over the Household staff, like a virtuoso conductor, as they prepare for one of Ma’am’s receptions in the Garden Room of Clarence House. Immediately we latch on to his irrepressible and subversive irreverence, matched by his unfailing loyalty. We can see why he has earned his privileges, and the special place he holds in the Queen Mother’s heart. Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated. Much comedy is drawn from his relationship with other members of the staff, particularly the rivalry with Mr Kerr (Ian Drysdale) the officious killjoy bent on driving Billy out.

“a gorgeously entertaining and traditional piece of theatre”

The Queen Mother was traditionally (allegedly) quarter of an hour late for her ‘at-homes’. It is the same amount of time before Penelope Wilton’s queenly entrance. Immediately in command, Wilton has grasped the hidden essence of the Queen Mother’s character and philosophy. It has often been said that when people met her, she did her best to make them go away feeling better. There is a glint in Wilton’s eye and an infectious smile that matches Evans’ naughtiness. The dynamic between Wilton and Evans is a true delight to watch. Yes, they may be an odd couple, and the Royal etiquette may be stretched a bit, but it is a totally believable friendship that works well on stage. Dos Santos’ script is packed full of one liners that poke fun at all levels of society. A strong supporting cast play various guests, whose comedic flare reminds us of the colourful and eccentric characters who populated Fawlty Towers.

The second act wanders into all out farce. Billy was (allegedly – again) known for bringing his gay lovers back to Clarence House after dark. In the play, one such ‘pick up’ was black artist (Eloka Ivo) who leaves behind his latest sculpture, a large black phallus, which inevitably rears its head the following day. Ivo displays a comic genius as he is mistakenly passed off as a Prince of Lesotho when he returns to collect his ‘artwork’. We are now in Joe Orton territory, but we are keen to be steered back to the central couple. When we are, it is in the aftermath of this scandal that threatens Billy’s position. A slightly jarring moment during which the Queen Mother tests Billy’s loyalty almost sadistically.

But overall, it is a gorgeously entertaining and traditional piece of theatre. Admittedly some serious issues are glossed over. The ‘Winter of Discontent’ that is blowing outside beyond the comfortable confines of Clarence House is cursorily commented on. Yet the subject of class divide is sensitively touched upon between the comedic lines. There are flashback scenes to the recently widowed Queen Mother during which Ilan Galkoff touchingly portrays a fifteen-year-old Billy at the start of his journey, while Wilton draws every ounce of empathy with her depiction of a woman learning to laugh once again. Backstairs Billy was a breath of fresh air to the former Queen consort. “Backstairs Billy” is a breath of fresh air in the West End.

Backstairs Billy

★★★★

Duke of York’s Theatre

BACKSTAIRS BILLY at the Duke of York’s Theatre

★★★★

“Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated”

“a gorgeously entertaining and traditional piece of theatre”