Talking with the King

The King’s Speech – Chicago Shakespeare Theatre

The story of how Albert Frederick Arthur George, the second son of King George V, unexpectedly inherited the throne and became King George VI is common knowledge to any Brit or English history buff. But a secret has been revealed that Albert, who was nicknamed Bertie, stuttered so badly that he was constantly teased, both by his father and his older brother, Edward. Bertie was made Duke of York and, as such, didn’t have to speak very much in public, plagued by his crippling speech defect.

Following the death of his father, Albert’s brother became King Edward VIII, until he was forced to choose between the throne and his much-maligned marriage to American divorcee, Wallis Simpson. Edward was forced to abdicate, and quite unexpectedly Bertie became the new heir to the throne. Along with the entire English Court, Bertie worried and was frightened about the prospect of having to deliver speeches to his royal subjects. It was then that the new King of England, with the help of his wife, Elizabeth, the Duchess of York, sought professional help from Lionel Logue, an Australian actor wannabe, who made his living as a speech therapist. “The King’s Speech” is the fascinating story about how George VI learned to become a confident public speaker.       

In an unusual sequence of events, David Seidler’s historical play was adapted from the movie, of the same name. Normally, this happens the other way around when a popular play or musical inspires a film version, bringing the story to more people. Seidler researched the historical facts of this incident in the 1970’s, with the intention of turning this fascinating tale into a stage play. However, after working on the project with Lionel Logue’s son, Seidler was advised to contact the Queen Mother for her permission to reveal the story. Elizabeth, the wife of King George VI (and the mother of the current Queen Elizabeth II) requested that the story remain a secret until after her death. Seidler respected her wishes, but the world wouldn’t learn this story until 2010, when it became a four-time Academy Award-winning film, including the Best Picture.

Following a short tour of the United Kingdom, Seidler’s drama opened in London’s West End in 2012. It has enjoyed many subsequent productions, both in Britain as well as internationally. In this North American premiere, Chicagoans are privileged to be the first in this country to enjoy David Seidler’s drama, now playing at the CST Yard Theatre.
Gorgeously guided by Tony Award-nominated director, Michael Wilson, this production overflows with a touch of class. The production stars Harry Hadden-Paton, of television’s “Downton Abbey,” and recently seen at Lincoln Center as Professor Henry Higgins in “My Fair Lady.” He brings proper, posh stature to Bertie, while making the monarch human. Paton absolutely charms theatergoers with his vulnerability and honesty, now and then flashing a dazzling smile that melts even his most-hardened critics. The actor plays all the colors of this reluctant King-to-be, and we’re able to empathize with his pain, embarrassment and desperation to be a credit to the British Crown.

James Frain shares in this dramatic story as Lionel Logue, the struggling actor turned speech therapist. As the audience’s surrogate, we experience this story through his eyes. Frain brings humor and humility to his role, while still managing to hold his own with the King and other members of the Royal Court. Mr. Frain may be remembered for his many television appearances, including “Elementary.” “Grimm” and Showtime’s “The Tudors.” Together with Mr. Hadden-Paton, Frain absolutely owns the CST stage for two hours. Together, this pair of gifted Thespians keep the audience riveted with two great performances that stress a relationship that begins professionally and ends in friendship.

The beautiful and eloquent Rebecca Night crosses the pond to portray Bertie’s loving wife, Elizabeth. This actress, whose resume boasts a variety of theatrical, film and television credits, is cool and cautious, as the Duchess of York. She still infuses this royal lady with compassion and kindness, although her disdain for American divorcee Wallis Simpson (nicely played with style and giddy abandon by Tiffany Scott) is unmistakable. And a longtime veteran of the American stage, Alan Mandell is maddeningly arrogant, aristocratic and humorous as Cosmo Lang, the Archbishop of Canterbury.   

The supporting characters are all well-played and cast from a pool of some of Chicago’s finest actors. The always incredible, multitalented Elizabeth Ledo (“Mamma Mia!” at Drury Lane; “The How and the Why” at TimeLine) is both funny and  heartbreaking and simply sensational as Myrtle Logue, Lionel’s patient, Australian wife. She never gives up hope that she and Lionel will eventually return to Perth. John Judd (“The Little Foxes” at Goodman Theatre) is properly powerful and majestic as King George V; Kevin Gudahl, a very familiar face at Chicago Shakespeare, as well as every other major theatre around town, has a field day playing Sir Winston Churchill; handsome, hardworking Jeff Parker, also seen recently at Drury Lane in “Mamma Mia!,” as well as on countless other stages around Chicago, is magnificent as David, Bertie’s older brother and the soon-to-abdicate King Edward VIII. Additional roles are played by the wonderful Jeff Diebold, Tim Monsion, David Lively, Chad Patterson and Trevor Strahan.

A special nod goes to an absolutely brilliant, forced perspective scenic design by Kevin Depinet, which changes effortlessly into various locales, and dazzles alongside of Hana Kim’s remarkable, colorful projections. Everything’s bathed in a pool of Howell Binkley’s perfect lighting. Crowned by Richard Jarvie’s nicely-styled wigs and makeups, the lush costumes created by David C. Woolard are gorgeous, expertly-tailored and period perfect. John Gromada’s original music and sound design cap off this production and are the icing on the cake.

Highly Recommended

Reviewed by Colin Douglas

Presented September 20-October 20 by Chicago Shakespeare Theatre in The Yard, on Navy Pier, 800 E. Grand Ave., Chicago.

Tickets are available in person at the box office, by calling 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.