The Queen’s Nanny, currently playing at Ensemble Theatre, dives into the lesser-known story of Marion Crawford, the nanny who shaped the childhood of Queen Elizabeth II. The play delves into the complexities of Marion’s relationship with the royal family, shedding light on the sacrifices and heartbreak that come with dedicating one’s life to the service of royalty. Set against the backdrop of post-war Britain, the narrative poignantly captures the tension between duty and personal freedom, painting a rich portrait of a woman torn between her love for the young princesses and her desire for a life of her own.
Melanie Tait’s script is a testament to her signature cleverness, brimming with wit and insightful commentary. The audience is treated to sharp, relatable dialogue peppered with delightful nods to other famous nannies, from Mary Poppins to Maria Von Trapp. These references are woven seamlessly into the narrative, providing moments of levity without ever feeling forced. Tait’s writing invites the audience to explore the pressures and expectations placed on those working within the royal household, highlighting themes of loyalty, secrecy, and the power of the press.
Priscilla Jackman’s direction amplifies the text beautifully, bringing out the play’s emotional core with precision and subtlety. Jackman allows the story to unfold naturally, with a keen eye for pacing that ensures every moment feels earned. Her direction deftly balances humour and pathos, never shying away from the more challenging aspects of Marion’s story while also celebrating her resilience and spirit. Jackman’s approach is refreshingly restrained, allowing the actors to shine without overcomplicating the staging.
Michael Hankin’s set design is simple yet profoundly effective, cleverly constructed to let the audience’s imagination fill the gaps. The minimalist set pieces serve as a canvas, inviting viewers to create their own interpretations of the various locations, from Buckingham Palace to Marion’s modest home. This approach respects the audience’s intelligence, trusting them to engage actively with the story rather than spoon-feeding every detail. It’s a testament to how effective set design can elevate a production by emphasising narrative over spectacle.
The cast is a trifecta of talent, each bringing depth and nuance to their roles. Emma Palmer is outstanding as Elizabeth, the grandmother of our current king, portraying a woman of steely resolve and deep compassion. Her portrayal captures the weight of royal duty with a touch of vulnerability, making her formidable and relatable. Elizabeth Blackmore shines as Marion Crawford, embodying the earnestness and inner turmoil of a woman caught between worlds. Her performance is layered, capturing Marion’s warmth, dedication, and underlying sadness.
Matthew Backer is a standout, brilliantly juggling six characters from four different countries and classes. His transitions are seamless, whether he’s stuttering as King George VI or playfully capturing the youthful spirit of Lillibet. His versatility and command of each role add a dynamic layer to the production, making his performance one of the show’s many highlights.
Ensemble Theatre and Melanie Tait continue to prove they are a match made in heaven, and it’s exciting to see this collaboration extend into the 2025 season. The Queen’s Nanny is a sharp, heartfelt production that showcases the best of Tait’s writing and the immense talent of its cast and creative team.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin. Follow him on all the socials @talldancraig
The Queen’s Nanny runs for 90 minutes (no interval) and plays at Ensemble Theatre, Kirribilli, through 12 October 2024. Tickets are available through Ensemble Theatre.
Disclosure: The Plus Ones were guests of Kabuku Public Relations.
Image credit: Phil Erbacher
