Backstairs Billy – Duke of York’s Theatre, London

Writer: Marcelo Dos Santos

Director: Michael Grandage

British star power is on full display with Luke Evans and Penelope Wilton leading the West End’s newest comedy delight Backstairs Billy. Following on from their successful version of Orlando at the Garrick Theatre earlier this year, MGC puts another queer historical figure in the West End spotlight and the result is simply delightful.

Constructed around the real events of 1979, Marcelo Dos Santos has concocted a wonderful tribute to the unique relationship between The Queen Mother and her right-hand man, William ‘Billy’ Tallon. Backstairs Billy is certainly unlike a lot of other media surrounding the Royal Family, in that it is a laugh-out-loud affair with a focus on being completely unserious. Further to this, Dos Santos’ relentlessly entertaining script masks an unexpectedly touching tale of genuine connection: rare within a household renowned for its cold commitment to protocol.

The bulk of the narrative occurs shortly after Billy’s promotion to Page of the Backstairs, accompanied by affectionate nods to the start of his service 25 years before, and takes place exclusively within the garden room of Clarence House. The extravagantly decorated set is designed by Christopher Oram and, despite being described as ‘gauche’ by a particular visitor, it emulates the lavish royal setting in instantly identifiable fashion.

As the play starts out, the audience is quickly acquainted with the two faces of Billy: the serious, professional facade presented in public; and his cheeky, discreet antics which keep The Queen Mother entertained. Though one misstep too far, witnessed by the new footman Billy is mentoring, quickly places his entire life and career at Clarence House under threat.

In his titular position, Evans plays the larger-than-life role to perfection, conjuring up the required cheeky charm with ease. This marks a very successful return to the stage for the accomplished actor, but more than that it is entirely enjoyable to see Evans be loose, playful and camp in a role.

As The Queen Mother, Wilton is simply outstanding and proves herself as one of the all-time great British actors. On paper, her royal role would perhaps seem an unexpected vehicle for the flawless comedy masterclass she delivers, yet Wilton is so secure in her eccentric characterisation that it becomes unimaginable any other way.

The pair is remarkable together and their palpable connection provides real heart to the production, rivalled only by Ilan Galkoff’s moments as Young Billy. Making a big impression in little time, Galkoff presents a sweetly endearingly timidity for Billy’s early interactions with Wilton’s monolith; yet just below the surface lie the seeds of flair which will bloom into Evan’s devilishly charismatic persona.

As the play’s catalyst of chaos, Eloka Ivo stuns in a role very interested in Billy but disenfranchised by the monarchy. Little can be said without spoiling the plot but his flexible control of accents is impressive and when the narrative takes a turn for the farcical, Ivo stands out strong amongst the madness of supporting roles.

Backstairs Billy is pure entertainment at its finest. Dos Santos folds in a healthy dollop of heart and politics for good measure, but make no mistake; this production is first and foremost an absolute feel-good gem.

Runs until 27 January 2024