Review: The King’s Speech (Barn Theatre / UK Tour)

Review by Justin Lowe

⭐️⭐️⭐️

Few things are more nerve-racking than speaking to an entire country, especially when you struggle to get the words out in the first place. David Seidler’s The King’s Speech tells the story of a man who never expected to become king, let alone deliver one of the most important speeches in British history. This Barn Theatre production has plenty to work with: a familiar story, an unlikely friendship, and a country on the brink of war. But could it find a voice of its own?

For those unfamiliar with the real history behind this play, Prince Albert, known to his family as Bertie, unexpectedly became King George VI after his brother, Edward VIII, abdicated in 1936. Having struggled with a stammer throughout his life, Bertie suddenly found himself in a position where he could no longer avoid public speaking. By then, he had already met Lionel Logue, an Australian speech therapist whose unconventional techniques and disregard for royal protocol would help Bertie prepare for the 1939 radio broadcast announcing Britain’s entry into the Second World War. The play therefore finds Bertie under pressure to build his confidence, fulfil his duties and become the king his citizens expect.

George Rainsford and Stefan Dennis confidently lead this cast as Bertie and Lionel respectively. Their performances are undoubtedly one of the production’s biggest strengths. George Rainsford’s portrayal of Bertie’s stammer feels incredibly genuine, portraying the frustration and emotions of a man who has spent much of his life doubting himself. You really start to feel for him, as the pressures and expectations of his position grow. Dennis brings levity, humour and warmth to Lionel, and watching the two characters gradually open up to each other is very heartwarming. This dynamic peaks at a pivotal moment when Lionel challenges Bertie to push past his self-doubt, letting us see the real man behind the duty.

Elizabeth Purnell's sound design was another highlight for me. The microphone feeds were cleverly adapted to suit each setting, from the rich reverb of Westminster Abbey to the vast echoes of Wembley Stadium. Period radio effects made the speeches feel authentic to the time, while music and crowd noise were used so convincingly in scenes that, at one moment, I thought some of the sounds were coming from the audience. I also have to praise Hector Murray’s effective lighting design, which used intensity and colour shifts to signal changes in time and location. Together, these elements did much of the heavy lifting in bringing the different settings to life.

Adam Wiltshire’s set and costume designs were less consistently effective. The costumes appeared period-accurate while also reflecting the personalities of the characters wearing them. They brought these familiar historical figures to life without making them seem as though they had stepped straight out of a history textbook. The set, however, was very sparse, with limited scenery and only a few pieces of furniture to establish each location. Although the practical demands of a 2027 tour may explain this, it was more stripped back than many of the play’s settings seemed to call for. The sliding panels at the back of the stage were a clever addition, changing in opacity and shifting position to become everything from an office entrance to the iconic balcony at Buckingham Palace. The cast also made good use of the auditorium, with actors appearing in the aisles during occasional scenes. These moments helped open up the smaller space of the Barn Theatre, although I left wanting more from the overall staging.

One challenge of this production was bringing so many recognisable historical figures to the stage, such as Winston Churchill, King George V, Queen Elizabeth, Edward VIII and Wallis Simpson. With such a small cast, most of the supporting cast had to take on multiple roles. At times some characterisations were less convincing than others, and transitions between roles were less clear, particularly when the visual changes were subtle.

I also found myself questioning exactly what themes the play wanted to prioritise. Was this a historical account of the events leading up to the war, a story about the friendship between Bertie and Lionel, or a more personal journey about a man learning to believe in himself? The production, directed by Loveday Ingram, includes elements of all three strands, but some feel rushed. Historical plot points such as Edward VIII’s abdication feel underdeveloped, as do relationships and tensions such as those between Lionel and his wife. These threads reach their conclusions quickly and without much explanation, making it hard to feel their full dramatic weight. By contrast, the family dynamic among Bertie, his brother and their father was particularly convincing, offering a glimpse into the pressures that shaped him. The play also jumps between Bertie’s personal struggle and scenes of political exposition involving other characters. These shifts occasionally interrupt the emotional momentum rather than adding to it, preventing any one strand from coming fully into focus.

For me, the strongest part of the production was Bertie’s journey towards finding his voice. The second act felt more focused on his sense of duty and the personal challenge he needed to overcome, building to the powerful declaration, “I have a voice!”, a real turning point in the production. I also enjoyed the scene leading up to the final broadcast, where Bertie is practising the speech while being coached by Lionel. These moments felt immediate and genuine, letting us appreciate the sheer determination it takes for Bertie to get through his words. As Lionel gradually steps back and Bertie delivers more of the speech unaided, you finally see him overcome his self-doubt and succeed. The eventual thank you to his friend Lionel provides a fitting end, even if I would have liked a little more time to see their friendship fully develop.

This new production of The King’s Speech is an enjoyable evening of theatre with two excellent central performances and some particularly thoughtful creative elements. Its partnership with CIC Stammers Matter also feels fitting for a story that brings the experience of stammering into the spotlight. However, underdeveloped supporting relationships and occasional uncertainty about its main focus keep it from reaching its full potential. The story is emotional and compelling, and when the production focuses on Bertie learning to believe in himself, it finds its voice and speaks powerfully to the audience.

The King’s Speech plays at the Barn Theatre until 7 November, before touring the UK in 2027. Tickets https://barntheatre.org.uk/the-kings-speech

Photos by Alex Tabrizi.