Review: Friendship, politics and power in the RSC's Queen Anne, Theatre Royal Haymarket #RSCQueenAnne
The RSC's production of new play Queen Anne opens with a satirical song about the monarch's many pregnancies, the joke being that her latest was just trapped wind. It is a humorous song with barbs, Anne is portrayed by a man with fake fat belly and voluminous breasts - her reign was said to have seen the birth of political satire, if not an heir to the throne.
It is one of a handful of satirical songs that pepper the play, reflecting political opinions and gossip, and a growing tool for those trying to manipulate or discredit the monarch, her politicians and advisers. These songs are like the equivalent of an 18th century Spitting Image sketch. There is a disquieting irony to the fact that the same day I was watching the play, our 21st century Parliament was discussing abuse and intimidation in the run up to the last election.
The song feels both cruel and understandable when we meet the Queen (Emma Cunniffe) for the first time. She appears sickly, weak - physically and mentally - evasive on important issues and prone to changing her mind and yet there is something tragic, pitiable and occasionally admirable about her too.
Her personality means she is putty in the hands of her supposed friend Sarah Churchill (Romola Garai) who has wit, intelligence and confidence in abundance. Sarah and her husband John (Chu Omambala) are also skilled at negotiation and manipulation, using the Queen for their own advantage and that of their political allies.
However, Sarah doesn't so much overestimate how much power and influence she has over her friend but just how far she can be pushed. While the Queen is to a large extent a pawn among political factions, in her naivete she is perhaps wiser than the Churchill's give her credit but there is no mistaking the killer blow she ultimately delivers.