The King's Speech review, Wyndham's

The Mouth-trap

The Oscar winning film, The King's Speech, felt more like a play than a film, partly because David Seidler's script was originally intended for the stage. Adrian Noble's production puts it back onto the stage, yet it looks, feels and even sounds a lot like the triumphant big screen version. That is the paradox of flexible writing.

For those who know the film, there is no quirk that differentiates the experience. That said, if it ain't broke, why fix it? Charles Edwards as the stammering king, George VI, is spectacular. There are strong resonances with Colin Firth - in profile and in voice, they are very similar, but there is more of a warmth about him, a likeable lightness. Jonathan Hyde plays the Australian speech therapist Lionel Logue as more of an alien, without the swagger and confidence of Geoffrey Rush in the film. He is less charming - unhelped by a screechy one-note Mrs Logue at home - but more authentic.

Logue's eccentric practices transform the King from a stuttering wreck with a miserable childhood behind him, to a confident, competent, caring monarch taking over the reins from his feckless brother. There is a lovely scene before the abdication, where Windsor and Wallis waltz to the edge of the turntable stage while his brother, fearful of what is to come, watches on. Emma Fielding is terrific as the Queen and the bit players from Churchill to church are all spot-on.

Conclusion: The revolving stage revolves a few times too many, but is well used. There is interesting footage from the time, and Seidel's script remains beautifully structured with dry, witty dialogue that keeps your attention.

References
Tickets from ATG
Henry Hitchings review in The Evening Standard