Sophie Drake Archives - thespyinthestalls.com

★★★★

“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 Cherry Orchard

Theatre Royal Windsor

Reviewed – 14th October 2021

★★★★

“The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms”

The original intention of Chekhov was for “The Cherry Orchard” to be a comedy; yet when it was first staged in 1904 at the Moscow Art Theatre, the writer/director Constantin Stanislavski turned it into a tragedy. If not distressed, Chekhov was very irritated by the misrepresentation of his work. Enough to put him in a mild state of depression. Ever since, there has been much discussion on the multi-layered nature of the play’s message.

Sean Mathias’ production at Theatre Royal, Windsor knows which side of the fence it lies and undoubtedly remains true to Chekhov’s intentions. With the help of a stellar cast the humour of the piece shines through and is maintained throughout the overly long two and a half hours running time. This is no mean feat, given that the characters themselves are generally not the comic type. Yet the wonderful ensemble cast bring out the flaws and the foolishness; the childishness in a seemingly mature group of people. It’s a kind of coming-of-age story for those who have already long come of age.

Fresh from the demands of his trail-blazing and age-defying Hamlet, Sir Ian McKellen is taking a step back, trying to blend into the background as the elderly servant Firs. There is a danger of his cameo becoming the lead but his generosity and sheer attention to the detail of how his character fits into the narrative lead to what is both a show-stealing performance, yet allowing his fellow actors to plunder as much as they can. Robert Daws is an absolute delight as the cash strapped moocher, overflowing with optimism and drunken charm and bouncing off Martin Shaw’s more successful but less confident Lopakhin. Shaw skilfully managed to mix a self-conscious awareness of Lopakhin’s peasant background with a cocksure sense of his own right to cut the privileged down to size (and ultimately cut down their beloved cherry orchard).

Francesca Annis, as Ranyevskaya the owner of the estate, swoops onto the stage majestically. No stranger to personal tragedy, she still seems clothed in waves of happiness. Yet Annis has the skill to show us the many tears and gashes that are covered up. The childlike way she greets her furniture as affectionately as her family is simultaneously ridiculous and tender. Her mix of tragedy and comedy is most (there’s only one way to put it) Chekhovian. But the minor characters also manage to have a major effect. Missy Malek and Kezrena James as the two sisters; and Alis Wyn Davies as the maid, Dunyasha, are names to look out for. Alison Halstead gives a fireball of a performance as the circus performer, trickster come governess, Charlotte. The only one who doesn’t quite seem to grasp the sense of fun that can be had with these characters is Jenny Seagrove, who plays the brother Gaev with a touch too much seriousness and lack of colour.

This is a piece that focuses on the characters and their interactions more than the story. After all, not an awful lot happens. In Act One, the cherry orchard is in danger of being sold, in Act Two it is on the verge of being sold, in Act Three it is sold, and in Act Four it has been sold. The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms and rambling lives that are just about keeping afloat. Much to relate to. There is tragedy everywhere, but we don’t always want to focus on that. This show, led by the inimitable McKellen et al, encompasses Chekhov’s spirit and lets us laugh at the seriousness of it all. Even if only for a couple of hours, but it is worth every minute.

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:

Backstairs Billy

Backstairs Billy

Theatre Royal Windsor

Reviewed – 14th October 2021

★★★★

“The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms”

Reviewed by Jonathan Evans

Photography by Jack Merriman

The Cherry Orchard

Theatre Royal Windsor until 13th November

Other four star reviews this year: