Upon discovering that Prince Albert had a penchant for selecting Queen Victoria’s bonnets, screenwriter Daisy Goodwin contemplated whether this was a sign of genuine affection or hinted at something more sinister. In her exploration of their tumultuous early years through a television drama, Goodwin now delves into a narrative of coercive control within what is often regarded as a model marriage through a new play.
The setting is Windsor, during the latter part of Victoria’s lengthy reign. Portrayed by Amanda Boxer, the queen appears as a troubled figure clad in black bombazine, embodying both an air of authority and a tendency towards self-pity as she laments her status as “a poor widow with no one to support me through all my tribulations.” Her habit of meticulous diary-keeping raises concerns among her children about the potential publication of her intimate thoughts posthumously.
The stage is adorned with a slanted, reflective ceiling, designed by Alex Berry, resembling a distorting mirror of memory. Victoria refers to her diaries as “the only place where I could be completely honest.” However, with Albert occasionally glancing at her writings, Goodwin suggests that their conflicts and grievances likely remained unrecorded.
Jessica Rhodes brings a vibrant young Victoria to life, as she dances joyfully with Albert. Yet, this initial happiness quickly turns to struggle as Albert attempts to shape her personality and diminish her happiness. Rowan Polonski’s portrayal of the prince reveals a character filled with irritation and self-importance. He keeps her perpetually pregnant, much to her annoyance, expressing that “children are invincibly tedious,” while also intruding on her royal responsibilities, including speeches and tours of industrialized Britain. Victoria sarcastically notes that he “made the monarchy so boring that no one was awake enough to start a revolution.”
The dynamics shift from playful teasing to harsh taunting, with affectionate moments turning into heated arguments over gifts, such as Victoria’s exasperated remark, “You gave me a brooch made of teeth, Albert!” The relationship showcases elements of coercion, yet it also reflects a co-dependent nature, as Victoria’s anxiety compels her to comply. A scene where she reads from ‘Jane Eyre’ alludes to a dark fate that Goodwin speculates Albert may have envisioned for her.
While Goodwin clearly aligns with the queen’s perspective, she acknowledges that Albert’s commitment to public service is the quality that contemporary society expects from its royal figures; their roles extend beyond mere narrative and indulgence. Sophie Drake’s dynamic production navigates the play’s inherent contradictions and monotony, effectively challenging the stereotype of royal complacency.
This production is currently showing at the Watermill Theatre in Newbury until May 9.
