Backstairs Billy

Backstairs Billy tells the story of the relationship between William ‘Billy’ Tallon, Steward and Page of the Backstairs to the Queen Mother, and the Queen Mother herself.

This is clearly a play Elliott Bunker has immersed himself in. He had a strong vision, and when a director has this, the audience gains a clearer understanding of the story, characters, and plot. The set was well thought out, and the relationships were clearly directed and developed. Diction had also been worked on; all the dialogue was clear.

Matt Hughes-Short played the lead, William ‘Billy’ Tallon. He was excellent, and his comic timing was exceptional. He held the correct posture throughout and came across as the second queen of the house and the Queen Mother’s right-hand man. At the same time, he had a twinkle in his eye that hinted at his hidden lifestyle away from work. This ultimately became his downfall when he brought Ian (Jordan Matthew) back to the Queen Mother’s residence. The scenes between Ian and Billy were believable, and I particularly enjoyed the Act 2 moment where the roles were reversed and, through confusion, Ian had the power while Billy was no longer in control. It was very well done.

Claire Adams was strong as the Queen Mother. she had stature, yet she was also somewhat relatable. The relationship that Matt, Claire, and Beau Bird (as Young Billy) built was vital to the story. It was the only way the audience understood why the Queen Mother could not sack Billy in the end—their relationship was simply too important to her.

Keith Swainston played Mr Kerr. He conveyed Mr Kerr’s frustration with Billy brilliantly, and his smug expression when he believed he finally had enough evidence to get Billy fired was priceless. Oscar Payne, as Gwydian, a recruit to Clarence House, also gave a great performance. Having lived in Wales for four years, I can say his accent was excellent.

Rachel Maloy, Brian Seal, and Stephanie Seal played the various guests who attended the Queen Mother’s gatherings. The range of characters they portrayed was impressive, each one distinct and supported by subtle, thoughtful characterisation.

Millicent, the Queen Mother’s corgi, was well trained and at times stole the scene. I thought the cast handled these distractions very well.

The set was beautiful and well considered. What I particularly liked was how the simple things were done well. Using Ian Critchley, Lucia Divaira, and Oscar O’Gara as palace staff to clear the rooms between scenes, open the curtains for daytime scenes, and close them for evening scenes was a great idea. Simple choices executed well are often the most effective, and something as small as opening curtains instantly tells the audience what time of day it is. I also liked the idea of hanging the pictures without walls; it allowed the audience to see staff walking on and off, meaning everyone remained in character, and it made for a visually interesting set.

I thoroughly enjoyed this play, and once again I thank Elliott for his hospitality.

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