A Tribute to a Great Leader

The Audience

Back in the 1980’s, British TV sported a popular political situation comedy. This hit show was titled “Yes, Prime Minister.” Set within the private offices of Jim Hacker, a fictional British cabinet member working at the made-up Department of Administrative Affairs, the show satirized the inner workings of the government. But another, more seriously biographical work of art would eventually come along that would examine the relationship between the Monarchy and several of Britain’s actual Prime Ministers. 

As the popularity of “The Crown” seems to show, almost everyone is fascinated by England’s Royal Family. This intriguing fictional account, written by Peter Morgan, speculates about what may have taken place behind the closed doors of Buckingham Palace during the reign of Queen Elizabeth II. In 2013 this well-known and highly-accoladed British screenwriter and playwright wrote this play and has continually updated it, as English history unfolded. Morgan’s prior works include familiar plays and films like FROST/NIXON, “The Queen” and his work on the previously mentioned TV series, “The Crown.” But this highly regarded play would go on to earn Morgan even greater fame, both in the West End and on Broadway. It also happens to be a warm and wonderful tribute to a great world leader. 

The play centers around HRH Queen Elizabeth II and eight of her twelve Prime Ministers, exploring the relationship and the delicate balance between Crown and Government. The drama is liberally peppered with a plenty of pathos and includes lots of unexpected humor. It spans the years between 1952 and just prior to the Queen’s death. Often imaginative, Morgan’s play sometimes allows the longest-reigning Monarch in British History to hold conversations with her younger self, in addition to her staff and Prime Ministers. Primarily set in the “eggshell blue” reception area of the Royal Residence, known as the Audience Room, Drury Lane’s production is heartwarming, surprisingly dynamic and very funny.

Jessica Fisch returns to Drury Lane to beautifully guide this exceptional play. As with her sensitive direction of the theatre’s two most popular non-musicals, AND THEN THERE WERE NONE and MURDER ON THE ORIENT EXPRESS, this is another incredibly majestic production. Ms. Fisch keeps the story in continual motion, despite the play’s potentially more static drawing room quality. And in addition to Queen Elizabeth’s conversations with herself as a child (nicely playing Young Elizabeth on opening night by impish Omi Lichtenstein, who alternates at certain performances with Elin Joy Seiler), and the delightful surprise appearances of the Monarch’s iconic, sweet Corgi, the conversations are electrifying and full of insight and information. The solemn Coronation of the Queen that concludes Act I, brimming with pomp and ceremony, is especially magnificent and moving.

As she was seven years ago in TimeLine Theatre’s more intimate production of THE AUDIENCE, one of Chicago’s finest actresses, Janet Ulrich Brooks, is again simply spectacular as the Queen. Ms. Brooks, who can say more with an arched eyebrow or a knowing smile than most actors can using their entire instrument, captures every subtlety and nuance of this Monarch. Janet’s multilayered characterization isn’t simply an impersonation of the Queen. She plays Elizabeth as far more. She’s a mother, a grandmother, a friend and trusted confidant, as well as the beloved soul of a nation. Between her clipped, upper crust British dialect, so gracefully mastered and effortlessly delivered, to every ladylike gesture and understated glance from those all-knowing eyes, Janet Ulrich Brooks proves once again that she’s among the finest of Chicago’s acting royalty.

The supporting cast is equally impressive. First is Jurgen Hooper as the Queen’s Equerry. As an officer of the British royal household, Mr. Hooper is proper and polished as he assists Her Royal Highness. His character also serves as the playwright’s link between the play and the audience. Jurgen narrates as needed and helps prepare each scene, working carefully with ensemble members, Sarah Chalcroft (who also plays Margaret “Bobo” MacDonald, the Queen’s childhood nanny), Brandon Dahlquist and Bill McGough (who portrays the Archbishop), Rebekah Ward and Chris Amos, as footmen, Secretaries, Security Men and the Queen’s Dressers.

The eight Prime Ministers are authentic and believable. They’re consummately portrayed by seven of our most talented Chicago actors. Matt DeCaro, who also shared the stage with Ms. Brooks in the TimeLine production, is a proper British bulldog as Winston Churchill; the lovely Susie McMonagle, known for her fine musical roles, is superb as the Iron Lady, Margaret Thatcher; John Judd plays Conservative Party member, John Major; and Raymond Fox portrays a somewhat worried Labor Prime Minister, Gordon Brown. Anthony Eden, the first Prime Minister to be appointed by Queen Elizabeth II, is played by Mark Ulrich as a slightly pompous negotiator on the world stage. One of Chicago’s favorite comedic actors, Alex Goodrich, plays two roles. He’s the handsome and dashing new Labor Party Prime Minister, Tony Blair, as well as the Conservative David Cameron, who was forced to resign when the UK voted to the leave the European Union. But, as the Queen’s secret favorite Prime Minister, Harold Wilson, Ron E. Rains is bigger than life. He makes this character as rough-and-tumble as any man’s man can be, and yet remains a charming, kind of roguish outdoorsman. His latter scene with Ms. Brooks, however, is heartbreaking.

The technical support for this production is entirely first-class. Andrew Boyce has created a Scenic Design that’s original and still genuine. The detail work and set dressing is quite stunning. Co-designed by Moria Sine Clinton and Ben Argentina Kress, every costume looks realistic and expertly tailored to fit each actor. The wardrobe is enhanced by Erin Kennedy Lundsford’s period-perfect and minutely-styled Makeup, Hair and Wig Design. Lee Kinney’s Music Compositions and Sound Design are nicely appropriate to the play, and Isabella Byrd has lit the production with warmth and vision. A special acknowledgment to Dialect Coach Supreme, Sammi Grant, for her work helping the cast eloquently speak the King’s English perfectly.

Peter Morgan has written a beloved literary portrait of Queen Elizabeth II. He’s skillfully and artistically created a non-chronological retrospective that journeys through time, showing how the Monarch personally related and responded to those who were politically closest to her. The result is a sweeping panorama of political English history told with humanity. We’re able to see, through the Queen’s relationship with her Prime Ministers, how she regarded their advice and the information they shared and how the changing character of this charming, intelligent, long-reigning Monarch evolved over the years. 

The figurehead of Great Britain, who was and continues to be much-loved by all, comes across as a realistic and warm, flesh-and-blood human being. Portrayed as a mixture of the ordinary and the extraordinary by one of Chicago’s most remarkable actors, Elizabeth is seen as more than simply the British Monarch. She is, thanks to a wonderfully measured performance by the luminous Janet Ulrich Brooks, a thoughtful and caring woman, as well. This play and Drury Lane’s superb production is a touching tribute to a great leader.   

Highly Recommended

Reviewed by Colin Douglas

Presented August 28-October 20 by Drury Lane, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the Drury Lane box office, by calling 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.