★★★★

“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.

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

As a species, the ability to conquer the fourth dimension has always fascinated us. Which is why it is so prevalent in literature and popular culture. Particularly as this year comes to an end with the highly anticipated 60th anniversary of Dr Who on the horizon. It is argued that Sophocles wrote the first time travel story over 2,500 years ago. The popularity of the concept has almost convinced us that time travel could, in fact, be possible. Most fantasies revolve around our ability to control our passage through time – from the past or to the future and back again. Audrey Niffenegger’s novel, “The Time Traveller’s Wife”, turned that around to tell the story of a man who has no control. It is not a gift but a curse, and questions of free will, fatalism or predeterminism give the novel a philosophical sheen. The success of the story, however, stemmed from the fact that it was perceived as a love story.

It is this aspect that informs the new musical, which premiered at Storyhouse, Chester last year before its West End run. Lauren Gunderson’s book, with Dave Stewart and Joss Stone’s music and lyrics, is a sugar-coated treat. More saccharin than the real deal raw stuff, there is a synthetic quality to the way it pulls at our heart strings. But once we get used to it, we allow ourselves to be drawn into the narrative. What undoubtedly helps is Bill Buckhurst’s magnificent staging. A collaborative effort, drawing on the skills of illusionist Chris Fisher, the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments.

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”

At the heart of the story are Henry and Clare – the time traveller and his wife (David Hunter and Joanna Woodward). Henry is a man with a genetic disorder that causes him to time travel unpredictably while his wife, Clare, is left behind to cope with his frequent absences. It is fitting that Woodward opens the show, introducing herself directly to the audience. After all; it’s in the title. Refreshingly told from the wife’s perspective, Woodward empowers her character in a finely balanced performance, practically stealing the show with the highlight musical number, ‘I’m In Control’. It is a rare moment when the emotional temperature lifts a few degrees. Elsewhere, however, the score laps around us in lukewarm waves of predictability.

The narrative is surprisingly easy to follow, given the complex nature of the storyline. Especially when put on paper. Henry and Clare first meet in the library where Henry works part time. Clare has already met Henry several times throughout her life when Henry was older and travelling back in time to visit her. But because Henry is younger than that now, he hasn’t yet built the memories of this, so he has no idea who Clare is. See what I mean? Henry has unwritten ‘rules’ of time travel that he can’t break. But of course, he does – particularly when it is in order to save his marriage. Woodward and Hunter both give polished performances that clearly pinpoint where, and when, we are in their romance. Fantastic support comes from Tim Mahendran and Hiba Elchikhe, as Gomez and Charisse, their best friends and conventional couple who mirror the ups and downs of matrimony without the added complications. Special mention must be made of Holly-Jade Roberts, who plays the young Clare with a fascinating, quirky and natural assuredness beyond her years.

Despite the captivating themes, the episodic nature of the piece leaves them dangling. Yet we also appreciate that this may be an essential part of it, as normal life is continually being torn apart by these uncontrolled fissures in time. And the numerous scene transitions are almost another character in itself. But the questions never dig too deep, hindered as they are by lyrical platitudes such as ‘time is nothing’. Perhaps there is too much to explore and, despite running at just over two and a half hours, there isn’t the time. We leave with a sense of being slightly underwhelmed, but thoroughly entertained, nonetheless. The question remains; will it stand the test of time? Well, there’s only one answer. Only time will tell.

Tag Archives: Johan Persson

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”

BACKSTAIRS BILLY at the Duke of York’s Theatre

Reviewed on 8th November 2023

by Jonathan Evans

Photography by Johan Persson

Previously reviewed at this venue:

Much Ado About Nothing | ★★★★ | February 2023

Backstairs Billy

Backstairs Billy

Click here to read all our latest reviews

The Time Traveller’s Wife

★★★

Apollo Theatre

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”