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| Me as Edward VIII - no, not in this production! |
I've been interested in the Wallis Simpson/Edward VIII/abdication story since long before I went to a fancy dress 'drag' party as Edward aka David in 2011. Was Edward incredibly selfish in refusing to do his duty, not to mention cruel in putting his shy younger brother with a speech impediment in the position of having to accept the throne? Or should he be admired for refusing to take on a role to which he didn't feel suited and choosing to follow his heart instead? Was Wallis really as horrible as she is usually painted? Can we agree that the Downton Abbey Christmas Special storyline featuring Edward was the most ridic storyline in the show's history?
As is customary at Upstairs at the Gatehouse, the sets were exemplary. I love walking into a theatre and feeling instantly transported to the time period in which the play is set. The swing music helped, too. The sets included simple art deco patterns on the walls, a cream divan, a beautiful old telephone, and, in Edward's rooms, pictures of George V, Charles I and Queen Victoria, and tennis rackets in presses beside a fireplace! Be still, my beating heart. The costumes were excellent, too. The play covered the period from 1931, when Wallis and Edward first met, to 1936, so it was appropriate for there to be costume changes aplenty. I particularly loved Wallis' wide-legged black trousers, her jewellery and black dress towards the end. Lady Thelma Furness' blue v-necked dress was also authentic-looking. Edward looked suitably dapper, although I was disappointed that he never appeared in characteristic plus-fours! There was a reference to his golf-playing, though.
I found the play amusing and engaging; it was interesting to see the progression of Wallis and Edward's relationship after their initial fiery encounter at a party, and Edward's callous throwing-off of Thelma in favour of Wallis. You could understand Edward's attraction to Wallis - she was supremely confident, unwilling to play by upper-class societal rules and able to coddle him to his satisfaction without sucking up to him. Emma Odell made a convincingly self-assured, witty, alluring Wallis, with arch and mischievous facial expressions. You couldn't help feeling sorry for her at the end, stuck with an immature man and shunned by society. Grant McConvey was a suitably petulant, raffish Edward, if a bit too youthful. I don't normally like stories where the characters are mostly cynical and selfish, but I couldn't help enjoying this one. The genuinely loving relationship between the gay butler (Robert Hazle) and the maid who agreed to be his beard (Katie Arnstein) provided a touch of necessary humaneness.
This was a play 'with music' - the butler accompanied himself on the piano during set changes, singing songs relating to the public's perception of the characters. The musical interludes were a positive addition to the play, although I wasn't keen on the 'debauchery' song. I thought the play went on a little too long - the scene with Stanley Baldwin and his wife could have been shorter - but it was very enjoyable and made you wonder whether Wallis really would have been happier to have ditched 'David' after learning that he would have to abdicate - and therefore face extreme and potentially permanent societal disapproval - if he was to marry her.
Next: The Go-Between
As is customary at Upstairs at the Gatehouse, the sets were exemplary. I love walking into a theatre and feeling instantly transported to the time period in which the play is set. The swing music helped, too. The sets included simple art deco patterns on the walls, a cream divan, a beautiful old telephone, and, in Edward's rooms, pictures of George V, Charles I and Queen Victoria, and tennis rackets in presses beside a fireplace! Be still, my beating heart. The costumes were excellent, too. The play covered the period from 1931, when Wallis and Edward first met, to 1936, so it was appropriate for there to be costume changes aplenty. I particularly loved Wallis' wide-legged black trousers, her jewellery and black dress towards the end. Lady Thelma Furness' blue v-necked dress was also authentic-looking. Edward looked suitably dapper, although I was disappointed that he never appeared in characteristic plus-fours! There was a reference to his golf-playing, though.
I found the play amusing and engaging; it was interesting to see the progression of Wallis and Edward's relationship after their initial fiery encounter at a party, and Edward's callous throwing-off of Thelma in favour of Wallis. You could understand Edward's attraction to Wallis - she was supremely confident, unwilling to play by upper-class societal rules and able to coddle him to his satisfaction without sucking up to him. Emma Odell made a convincingly self-assured, witty, alluring Wallis, with arch and mischievous facial expressions. You couldn't help feeling sorry for her at the end, stuck with an immature man and shunned by society. Grant McConvey was a suitably petulant, raffish Edward, if a bit too youthful. I don't normally like stories where the characters are mostly cynical and selfish, but I couldn't help enjoying this one. The genuinely loving relationship between the gay butler (Robert Hazle) and the maid who agreed to be his beard (Katie Arnstein) provided a touch of necessary humaneness.
This was a play 'with music' - the butler accompanied himself on the piano during set changes, singing songs relating to the public's perception of the characters. The musical interludes were a positive addition to the play, although I wasn't keen on the 'debauchery' song. I thought the play went on a little too long - the scene with Stanley Baldwin and his wife could have been shorter - but it was very enjoyable and made you wonder whether Wallis really would have been happier to have ditched 'David' after learning that he would have to abdicate - and therefore face extreme and potentially permanent societal disapproval - if he was to marry her.
Next: The Go-Between
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