Past productions

THE KING’S SPEECH

by David Seidler

4 – 13 December 2025

Bertie, Duke of York, as the decent and faithful second son of George V, was never destined to be King. And maybe that was just as well because his severe stammer meant that public speaking was a nightmare for him. That is until his flighty older brother announces he is to put love above duty and abdicate from the throne. Bertie’s wife Elizabeth, (later known as the Queen Mother), decides to take matters into her own hands and introduces him to Lionel Logue, a somewhat eccentric Australian speech specialist. What unfolds is a heart-warming and heroic tale, based on the multi-award winning film of the same name; the inspirational story of one man trying to find his voice.

This amateur production was presented by arrangement with Music Theatre International – www.mtishows.co.uk

Cast

Photography by Chris Fenton

Review | December 2025 | Theo Spring

Director Helen Dunford-Hearn’s decision to set this play in the round as opposed to the proscenium arch staging as written, delivered an intimate experience for the audience as well as skilled acting demanded on the part of the cast. Then there is the upheaval of changing the seating round and re-rigging the lighting to deliver what was a quite challenging plot. Her decision paid off in spades as her cast and the production team delivered an immersive experience in which the audience were fully involved.

Many in the audience would have been familiar with the story of how King George V’s oldest boy David was groomed to follow him as King, but how his love for the twice-divorced American Wallis Simpson meant that to marry her he must abdicate. Thus his younger brother Bertie was reluctantly forced into the regal spotlight and the stammer he had had since about the age of five might well deter from the ring of fluency and truth when addressing his subjects. To this end, help was sought and his wife Elizabeth found the Australian Lionel Logue who, eventually, achieved a cure.

James Mercer’s Bertie was carefully created. His ability to make the stammer realistic, to be very aloof and ‘royal’ in his early meetings with Lionel and to finally deliver his long broadcast speech to the nation without a stammer, oozed emotion and was superbly achieved. His final line after the success of the broadcast spoke volumes. Speaking to Lionel, he clasped his hand and said “Thank you, my friend”. A real acknowledgement of everything that been achieved, almost in spite of Bertie’s lack of belief in himself or Lionel’s ability to cure him.

As Lionel is an Australian, the casting of Paul Dineen was more than fortuitous as his programme notes revealed he began acting in Australia at the age of 12, thus not only was the accent right but his acting skills created the perfect laid-back approach required. His early interaction with Bertie set the tone of the relationship with Bertie on his high regal horse and Lionel the relaxed friendly therapist. The relationship which playwright David Seidler builds between them was beautifully nuanced, with Lionel never backing down on treating Bertie without the royal deference which clearly Bertie had been brought up to always expect.

Lionel’s wife, Myrtle hankered to return to Australia and was twice disappointed during the play with return tickets cancelled. Gail Bishop swung realistically between Myrtle’s support of her husband and her hopes to get back to her homeland. Sustaining an excellent accent, she took Myrtle through her excitement when return tickets were bought and real anger when she realised that Lionel would not give up his determination to stay in London until he could rid Bertie of his stammer. A carefully thought-out role in Gail Bishop’s always highly professional hands.

Because this is an historical piece there are, of course, the politicians and even the church putting in their oar as to what to do about David’s plans and how the world would see the country with a King who was unable to deliver stirring speeches.

Acerbic and sceptical, Peter Damesick as Archbishop Cosmo Lang gave the plans for the new King short shrift, sometimes with the use of blunt language. Arguing with Brian Miller playing a very realistic Winston Churchill, the pair revealed some interesting inner workings of the thinking behind the upheaval. David Edey added more political agenda as Stanley Baldwin – again a realistic portrayal.

With his demise imminent we only meet King George V for a short while at the beginning of the play. With regal bearing, cut glass annunciation and a temper which showed the monarch had absolutely no understanding of Bertie’s problems, Chester Stern made his mark in this brief role. As David, or King Edward VIII as he was before his abdication, Gerard Kelly created a optimistic, teasing elder brother. Very self-centred and never appearing to believe he wouldn’t always get his own way – to be crowned King and to marry Wallis. A light touch and a cheerful countenance but never thinking the damage he did with his teasing of Bertie.

Ever supportive of her husband, Bertie’s wife Elizabeth set a regal tone throughout, with Harriet Datta making her always encouraging and again here, a regal accent with the lovely explanation as to how she should be addressed. Her costumes, like everyone’s, were exquisite, with Nigel Kemp doing splendid work as Wardrobe.

Authentic props found by Jane Bishop added to the atmosphere of the set which had to serve as a variety of locations thus creating demands on the lighting by Martin Swain. Tony Richardson provided the many sound cues, slowly raising the volume of Elgar’s Nimrod as Bertie – now George VI, delivered that amazing speech.

As both director and set designer, Helen Dunford-Hearn brought an outstanding piece of drama to the Miller Theatre stage, achieved through a really excellent cast and crew. Very many congratulations to absolutely everyone involved.