Review: Springwood (Hampstead Theatre)

Review by Daz Gale

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The special relationship between the United Kingdom and the United States is a phrase you will have most likely come across at some point or another. No matter how much you know about the history between the two countries (though Hamilton has certainly educated some people), both the UK and USA have been close allies for the best part of a century, even if that relationship has felt fairly fractured of late. It was World War II that cemented that relationship, and the world premiere of a new play at Hampstead Theatre attempts to unpick the possible beginnings of their relationship as it explores the very real meeting between a King and a President. But would Springwood prove to be as special as that relationship, or would it end up being a royal misfire that fails to make history?

The year is 1939, and King George VI and his wife Elizabeth have travelled to the United States to meet President Roosevelt and his wife Eleanor. With Hitler’s power on the rise and the looming threat of war, there has never been a more important time for these two countries to unite, but the fate of the nations relies on a picnic with hot dogs and beer at President Roosevelt’s mother’s house. With George and Elizabeth convinced it is all a ruse to make them look foolish, will the two couples manage to find common ground and realise perhaps they aren’t as different from each other as they first thought?

Written and directed by Richard Nelson, Springwood relinquishes all pomp and ceremony from the story, instead relying on the simple yet effective nature of the conversations between the couples, bringing the humanity and relatability that sometimes feel so far removed from those in power. It gets off to a fairly slow start as President Roosevelt (Franklin) and Eleanor prepare to welcome their guests, uncertain what to expect from their arrival. Nelson’s ability to weave a common narrative of unlikely comrades forging a friendship leads to a charming story that has far more significance than the understated approach would have you believe. There are some funny moments to be found, with revelations and confessions dotted throughout, always ensuring the play ticks along nicely.

The problem is that it is all rather slow. Though I wouldn’t go as far as to call Springwood boring in any sense, it does veer on the dull side from time to time with several scenes outstaying their welcome. Nelson’s writing is stronger than his direction here, which is in desperate need of a bit more of a dynamic to lift the material. Instead, a rather static approach to the direction never quite reaches the level that a story of this magnitude should. Though this has been sacrificed in the hope of more intimacy, this doesn’t quite land either, with the story and real relationships failing to strike a chord and connect with the audience.

Tom Piper’s design transforms the stage of Hampstead Theatre's main space upstairs as I have never seen before, with the audience surrounding three sides, making them closer to the action than ever. Though the bare and simple design is clearly in line with Nelson’s vision, it risks becoming rather tedious, with nothing to grab your attention throughout. As Bertie (King George) describes the details in the guest bedroom, I longed to see it. For a show with visual descriptions to the extent that even its title draws an image, it is disappointing that Springwood doesn’t bring any visuals itself. Similarly, an over-reliance on darkness does nothing for the show, with some odd choices in the lighting design.

The strongest element in Springwood is its cast, full of recognisable names and faces. Robert Lindsay returns to Hampstead Theatre to star as the formidable President Franklin D. Roosevelt. Always a force to be reckoned with on stage, Lindsay is in fine form despite an accent that wanders occasionally. Jemma Redgrave comes into her own as his wife, Eleanor, providing the most intrigue out of any of the characters and coming alive as the action progresses, with one pivotal scene in Act Two allowing her to showcase her immeasurable talents as an actress, and wowing in the process.

Andrew Havill takes on the role of Bertie, better known as King George VI, in a sweet and loveable turn. Though the King is full of self-doubt, Havill himself has a charisma that allows him to find the perfect balance between the character’s responsibility and the weight that comes from being King. His scenes with Lindsay are among the strongest, with a refreshing dynamic to be found with his wife, Elizabeth, wonderfully played by Rebecca Night. Though her character feels more sidelined in comparison to the other three, Night still makes her presence felt in an outstanding performance. Eileen Nicholas has a small but memorable turn as Mother, with Rachel Pickup illuminating, albeit underused, as Daisy.

My relationship with plays about history is certainly special. More often than not, I find them to be fascinating, and the premise behind Springwood was full of promise. The King of the United Kingdom and the President of the United States met in the build-up to World War II to discuss their special relationship, each with their own battles to overcome. This play should have been a resounding success. That is not to say it is a failure by any stretch - it just struggles to reach its full potential, and feels as if it needs a bit more development to be at its best. The best efforts of its cast result in an enjoyable watch, though this play needs a bit more work if it wants to have a special relationship with an audience that will last through the decades.

Springwood plays at Hampstead Theatre until 25th July. Tickets from hampsteadtheatre.com

Photos by Manuel Harlan