Ilford Recorder - December 5 2002
Excerpt from review by Sue Leeman
The abdication of King Edward VIII was such a pivotal event for Britain and the Monarchy that its ramifications remain fascinating even now, several decades on. Woodford Operatic and Dramatic Society, who cancelled the final performance of their production of Habeas Corpus at Easter when the Queen Mother died, chose Royce Ryton's play Crown Matrimonial for the Kenneth More Theatre last week, in part as tribute to the royal lady, but also to take another timely look at that constitutional crisis of long ago.
Ryton's cleverly written work provides a glimpse behind the grand palace doors, focusing on the kind of discussion the playwright imagines went on between the royals themselves about the King's determination to flout both convention and constitution.
As such it is an intriguing dissertation on the crown and duty but also manages to provide a fascinating look at the human drama played out among the royals. Much of the action centres on Queen Mary, known to most of us as the stern dowager from old newsreels. In Ryton's hands, she becomes a real and rounded character - albeit one with firm views, as her son repeatedly points out. We are shown her growing anguish as the crisis deepens, her love for her son vying with her incredible sense of what is expected of the sovereign. Mary Lowe made a wonderfully imperious, yet often forlorn Queen Mary. In an iron-grey wig and beautiful Edwardian costumes, she really looked the part, and in the main carried it off with great aplomb.
Michael Brennan played the King with a wonderfully clipped accent reminiscent of the time and a ranting sense of being ill-used that quite precluded his characters ability to understand anyone else's point of view. He gave several moving dissertations on why he should be allowed to marry a divorcee and remain on the throne.
Pam MacDonald also looked the part as the Duchess of York, the late Queen Mother, and made the most of several emotional speeches in which she rails against her brother-in-law for presuming that her shy, family-loving husband is prepared to assume the throne in his place. Robert Flint was marvellous as her husband Bertie, neither overdoing nor underplaying that famous stutter and managing to convey his character's vulnerability and determination in equal measure. The moment when Queen Mary bows to him as King for the first time was very moving.
Jay Berry was feisty as the Kings sister Mary, providing fresh insight into the ripple effect of the King's affair. Peggy Callaghan was good as Queen Mary's lady-in-waiting the Hon. Margaret Wyndham, as was Marion Barnett as Mabel, Countess of Airlie, both fine sounding boards for the increasingly upset dowager.
This was a painful slice of history, sensitvely handled by Ryton and director Vicki Roberts in a stylish and thought provoking wander through the past.
Wanstead and Woodford Guardian - December 5 2002
Excerpt from review by Phyl Romeril
Here was a most lavish production of a play of historical and royal happenings within living memory for most. All about the abdication of Edward VIII it is a fascinating story and calls for a high standard of acting. WOADS achieved a very high standard and its presentation was well received by attentive audiences.
The action takes place in Queen Mary's private sitting room at Malborough House with a very wordy piece between her majesty and the king. The production was saved from becoming too static however, by attention to mood and the expertise of the two leading characters.
Mary Lowe was well suited to the role of Queen Mary. She was every inch a queen and her deportment was admirablel Portraying a mixture of anger, righteous indignation, sympathy and distrss, she dominated in a long an exacting portrayal.
King Edward is also a demanding part to play calling for charm, authority and constant changes of mood. Michael Brennan had all the necessary assets and presented us with a charming and confident performance.
The supporting cast were all superb in their scenes, especially where the Duchess of York (Pam Macdonald) and the Duke (Robert Flint) were concerned. The set (one of Paul Alvarez's creations) with some equally elaborate furnishings was magnificent and the costumes were fittingly authentic to create realism. This enactment of a royal event, directed by Vicki Roberts, was an ornate reminder of past glories.