Canberra Theatre Centre | Review by Freya Rowell
Royal Drama both Charms and Raises Questions in The Queen’s Nanny
2 July 2025
In a time where the royal family is becoming increasingly irrelevant to much of the Australian population, The Queen’s Nanny may appear to be an unusual choice for Sydney’s Ensemble Theatre. However, Melanie Tait’s new work, touring after its premiere last year, is an intelligent, entertaining night at the theatre that approaches its dilemmas with both humour and heartfelt drama.
The show is narrated by a current-day Australian journalist, “J” (Matthew Backer), who has transferred to London with the intention of covering important and influential events, only to be placed on the Royal beat (much to his chagrin). He introduces us to the titular nanny and his object of study Marion “Crawfie” Crawford (Briallen Clarke). On a break from university where she is studying child psychology, Marion takes a job working for the Duchess of York (Sharon Millerchip), caring for her daughters Margaret and Lillibet, the latter better known as Queen Elizabeth II. What she intends as a summer job quickly develops into a decades-long commitment to the family, only to be cut off completely when she writes a book recounting her experience raising the girls.
Clarke and Millerchip work together to provide an effective contrast throughout. Clarke’s Crawfie is compelling, portraying a tender, independent and intelligent young woman whose genuine affection for Lillibet is never doubted. Her smooth switches between Crawfie’s natural Scottish accent and a more “civilised” English RP demonstrate the conflict between her home country and the royal family she serves. Millerchip shows great comedic talent as the frivolous Duchess in the early scenes, as she revels in being a minor royal at ease. Her insistence that she have a cocktail in order to be “fizzy but not sozzled” upon meeting the new nanny in order to cement her image as the “fun mummy” provides a delightful blend of Austen’s Mrs Bennet and the “cool mom” of Mean Girls. As the play progresses, abdication makes her the Queen consort and war threatens her family and empire. Millerchip clearly shows how much the new responsibilities weigh on her with a seriousness that grounds the character and provides depth. Backer rounds out the cast, deftly juggling all remaining characters by himself. He is equally charming as rugged Highland love interest George Buthlay or wide-eyed Princess Lillibet, and his changes in voice and posture create clear distinctions between his several personas.
Despite its historical setting, the play has a modern perspective and flair. Realistic 20th century costumes (designed by Genevieve Graham) are contrasted by the sparse set with gently luminous backdrops. The use of a doll’s house, model train and blackboard, all items that may be found in a child’s nursery, cleverly aid the storytelling by communicating the passage of time or travel.
Melanie Tait’s script manages to be simultaneously entertaining and reflective, and poses interesting questions. Crawfie’s explanation to Lillibet that the difference between working and non-working people is simply how many coins and how much time one has is simple and childlike, but rings true in today’s cost of living crisis. After the publication of her book The Little Princesses, Crawfie and J argue over whether she is a royal historian or a tabloid gossip, both labels being arguably true. In an age of social media and endless celebrity news, the line between journalist and influencer is increasingly blurred. Crawfie’s insistence that she is not a royalist while remaining unwaveringly faithful to Lillibet asks whether one can truly oppose a political regime while supporting individuals within it, a dilemma many people have grappled with, particularly during the passing of Queen Elizabeth II in 2022.
There is room for refinement in Tait’s script. Events such as the abdication of Edward VIII are referred to in vague terms by characters and narrator alike, assuming that simply mentioning Wallis Simpson’s name provides enough context. This risks confusing or alienating those that are unfamiliar with this period of English history. In her director’s notes, it is clear that Tait believes the royal family as an institution needs to be left in the past, and while this is present in J’s modern commentary on the regime, the play’s indiscriminately positive portrayal of Queen Elizabeth II herself does not leave a particularly anti-royal impact.
Entertaining in its balance of humour and drama, and full of strong performances, The Queen’s Nanny invites the audience to examine their own relationship with the royal family, celebrities, gossip and history, and sheds light on an overlooked woman who raised one of the most influential figures of the last century.
Freya Rowell is a Canberra local who is enjoying re-immersing herself in the city’s theatre scene after living in the United Kingdom for 18 months. Having performed in some productions herself over previous years including Sense and Sensibility (Canberra Rep, 2022), Be More Chill (Budding Theatre, 2021) and Oliver! (Queanbeyan Players, 2019), Freya is looking forward to participating from a different perspective with Canberra Youth Theatre Young Critics. Freya has a Diploma of Communication from the University of Canberra.
