Review: THE QUEEN'S NANNY at Pumphouse Theatre

Currently playing at The Pumphouse Theatre from May 14 to 24, Tadpole Theatre Productions’  New Zealand premiere of The Queen’s Nanny is an intelligent, elegant and deeply engaging piece of theatre.

Written by acclaimed Australian playwright Melanie Tait, this sharply observed comedy-drama offers a rare and often uncomfortable glimpse inside the House of Windsor through the eyes of Marion Crawford, the governess who helped raise Princess Elizabeth and Princess Margaret, only to be cast aside when she later told her story.

Tait is a writer of notable stage works and her experience and talent shows in every beat of this script. The Queen’s Nanny is witty, and emotionally astute. It balances satire with compassion, and what could easily have become a piece of royal caricature instead becomes something far more layered: a story about loyalty, class, sacrifice, affection and betrayal. 

Under Simon Prast’s experienced and clever direction, the production leans into the simplicity of the storytelling in ways that feel both assured and inventive. The nuances are superbly clever, and it takes a special combination of performer discipline and directorial precision to allow characters, tone and status to shift so fluidly without ever losing clarity. That is one of the great strengths of this production. Prast trusts the material, trusts the audience, and shapes the action with a light but confident hand.

The opening tableau is especially striking. It draws the audience in immediately, creating intrigue and establishing a visual language that prepares us for a world where image, ritual and repression matter enormously. From that first moment, there is a sense that every detail has purpose.

The set is excellent and is beautifully integrated. Rather than existing merely as background, it becomes part of the narrative architecture of the evening, supporting the transitions, reinforcing mood, and helping the production move seamlessly between public façade and private tension. It is elegant without becoming distracting, and thoughtfully serves the play throughout. The movement of two chairs by a few centimetres creates a whole new scene in time and place.

Performance-wise, this is a strong cast. Anna Jullienne is excellent as Marion. She gives the character warmth, intelligence and emotional depth, allowing us to see both the capable professional and the woman whose devotion comes at enormous personal cost. There is real humanity in this portrayal, and Jullienne ensures that Marion never becomes simply a victim of history, but remains vividly alive, compassionate and quietly heartbreaking.

Laura Hill is also excellent as Elizabeth, delivering a sharp, controlled and highly watchable. performance. She is also hilarious, her timing of her comedic lines is excellent.

A particular delight is Jack Buchanan, who plays a range of roles with remarkable agility. It takes a special actor to move in and out of multiple characters with such ease, and Buchanan does so with theatrical intelligence. His transformations are a pleasure to watch, particularly when shifting into roles such as young Lilibet, a butler, King George VI and the narrator-like figures that help frame the action. What is impressive is how distinctly each character lands. Voice, posture, rhythm and energy all shift with precision, and the result is theatrically rich.

This production aligns well with Melanie Taits gift for finding the personal story inside a public myth. She examines monarchy not just as institution, but as something that shapes, uses and ultimately discards people. That perspective gives The Queen’s Nanny its bite, but it is Tait’s compassion for Marion Crawford that gives it heart.

Tadpole Theatre Productions has delivered a finely crafted and absorbing season of a play that deserves attention. This New Zealand premiere feels timely, entertaining and quietly devastating. With excellent performances, clever direction from Simon Prast, an integrated and effective set, and a script of real quality from Melanie Tait, The Queen’s Nanny is a thoroughly worthwhile night at the theatre. Go see it.

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