The King’s Speech

Clitheroe Parish Church AODS presented The King’s Speech, David Seidler’s compelling stage adaptation of his Academy Award‑winning screenplay. The play charts the unexpected and deeply human journey of Prince Albert, Duke of York, as he battles a debilitating stammer while standing on the brink of becoming King George VI. With Europe sliding toward war and the monarchy under intense scrutiny, Albert’s unlikely partnership with the unorthodox Australian speech therapist Lionel Logue becomes the emotional heart of the story. Their evolving friendship, built on trust, humour and persistence, leads to the historic 1939 radio address that would define a reign and steady a nation.

Under the direction of Geralyn Lambert, this production moved with clarity, confidence, and admirable ambition. With 51 scenes across 26 locations, the play demands constant movement, yet Geralyn ensured the action remained fluid and purposeful. The use of couriers and housekeepers to ease transitions was particularly effective, keeping the pace brisk and visually engaging. Although the sheer volume of changes occasionally interrupted the dramatic momentum, this was a minor consequence of an otherwise bold and intelligently conceived staging approach. Geralyn’s focus on character truth, emotional connection and historical detail was clear throughout, guiding the cast toward performances that were grounded, nuanced and deeply human.

The set design and construction, led by Brian Haworth and his team, offered a cleverly adaptable environment that served the production exceptionally well. A large drawing room dominated the stage, with a slightly off‑centre partition creating the convincing illusion of a second adjoining space opening stage left to the outside world. At the back, a substantial set of double glass doors, framed on the outside by rich red velvet curtains, provided an elegant focal point. This single set was dressed and undressed with impressive efficiency, transforming through tables, chairs, pictures, and carefully chosen props to evoke Buckingham Palace, Balmoral at Christmas, the landing outside Logue’s office, Logue’s own apartment, and many other locations. It was a thoughtful approach that invited the audience to lean into their imagination while still feeling grounded in each setting.

Staging extended beyond the main set in ways that enriched the storytelling. The front left of the proscenium was dressed as the Prime Minister’s desk, offering a clear and immediate shift in focus, while the front right became a wine cellar for one memorable scene. These added playing areas were used with purpose and clarity, helping the audience navigate the many locations without ever feeling lost. Props, coordinated by Jacqui Shepherd and her team, were plentiful, era‑proper and handled with care, adding a welcome layer of authenticity to the production. From the period telephones and writing materials to the royal photo frames, whisky decanters and Logue’s well‑used therapy tools, each item felt thoughtfully chosen and rooted in the world of the 1930s. Costumes, overseen by Jean Pells and supplied by Rebellion Flame Ltd and the Pendle Hippodrome Theatre, looked excellent throughout. The royal tailoring was suitably sharp and formal, contrasting effectively with Lionel Logue’s more relaxed, lived‑in attire. The elegant dresses for The Duchess Elizabeth, the military uniforms, and the period coats and hats all contributed to a keen sense of time and place.

Sound, designed and run by John Ormerod, was a strong feature throughout. Longer transitions were sensitively supported by recordings that began with period‑right music, gradually darkening into the chilling rhetoric of Nazi broadcasts. This progression not only covered the practicalities of scene changes but also deepened the atmosphere and historical context. The balance and clarity of the sound were consistently well judged.

Lighting by Paddy Keane was evocative and precise, with spot cues landing cleanly and enhancing key moments without drawing attention to themselves. The lighting for the BBC recording sequences was particularly effective, arriving exactly on time and giving those scenes a crisp, authentic feel. Stage Manager Mic Longhi and the backstage crew oversaw the entire operation with calm professionalism, ensuring this complex production ran smoothly.

At the heart of the production were two exceptional central performances. As Bertie, the Duke of York, Matt Haworth delivered an extraordinary performance, capturing both the public figure and the vulnerable man beneath the crown. His stammer was never a caricature; instead, it felt painfully authentic, with the rising colour in his face and neck conveying the physical and emotional strain of each blocked syllable. Matt charted Bertie’s frustration and anger with remarkable truth, yet balanced these moments with quieter, deeply affecting scenes shared with his wife. His royal accent was superbly judged, difficult to achieve without tipping into exaggeration, and his mannerisms, posture and hesitations all contributed to a portrayal that was both dignified and profoundly human. Matt’s journey allowed the audience not only to understand Bertie’s struggle, but to feel it with him.

As Lionel Logue, Sam Crabtree brought an easy naturalism to the role, grounding the character with gentle humour and an understated confidence that made his scenes with Bertie a joy to watch. His Australian accent was never overdone; instead, it had a relaxed, conversational quality that felt entirely authentic. Sam charted Logue’s own insecurities with subtlety, his quiet disappointment at his failed acting career contrasted poignantly with his growing belief in Bertie’s potential. His calm persistence, humour and compassion made Logue’s success with Bertie feel both earned and deeply moving.

As Elizabeth, Duchess of York, Kate Walker was an absolute joy to watch. She brought a gentle poise and quiet strength to the role, always grounded in her unwavering love for Bertie. Her attempts to fit in with the Logues were particularly delightful, and her accent was beautifully judged. Kate conveyed a woman who believed in her husband completely, adding real heart to the production. Andrew Fletcher gave David, Prince of Wales a striking air of arrogance and entitlement, capturing the future king’s brittle charm and underlying cruelty with assurance. His contrasting cameo as the theatre director at Logue’s failed audition was brisk, funny, and completely distinct. As Myrtle Logue, Sam Smith offered a touching performance, her Australian accent confidently handled and her frustration at longing for home sensitively portrayed.

As Wallis Simpson, Lesley Haworth brought a poised and quietly provocative presence to the role. Her accent work, confidently handled, capturing Wallis’s distinctive transatlantic tone. Lesley conveyed the allure and self‑assurance that made Wallis such a disruptive force within the royal narrative. Peter Lambert delivered a remarkably assured Winston Churchill, capturing stance, movement, and vocal tone with impressive accuracy. Simon Jackson was wonderfully simpering and scheming as Cosmo Lang, offering a soft, oily charm that suited the archbishop perfectly.

Kim Croydon provided two contrasting performances as King George V and Neville Chamberlain, each clearly defined and confidently delivered. Trevor Lord also proved versatility as both Stanley Baldwin and a crisp, period‑perfect BBC newsreader. Supporting roles saw Liam Kent as Senior Courtier and Royal Herald, Darren Moss and Evan Preston as courtiers, and Mel Crook as a housekeeper, constantly moving and changing the sets as they went.

This was a thoroughly enjoyable and thoughtfully executed production, shaped by a company who clearly understood both the historical weight and the personal story at its centre. The performances were engaging throughout, and the staging choices supported the narrative with assurance and care. It made for a genuinely rewarding evening of theatre, and my sincere thanks go to Clitheroe Parish Church AODS for their warm welcome and for presenting such a well‑crafted and satisfying performance.

 

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