If you’re a fan of the Royal Family or of The Crown, The Audience, currently on stage at Drury Lane Theatre in Oakbrook, is a theatrical triumph, offering a rare and intimate glimpse into the private meetings between Queen Elizabeth II and her various Prime Ministers over the span of her reign. Through its masterful structure, the play is not a linear historical narrative but a rich tapestry of pivotal moments, seamlessly jumping between decades while highlighting the subtle evolution of both the Queen and her relationships with her ever-changing Prime Ministers.
What makes The Audience exceptional is playwright, Peter Morgan’s (creator and chief writer of The Crown) ability to weave political history with personal insight. The dialogue is sharp, witty, and deeply human, reflecting the complexities of leadership, loyalty, and the burdens of both public and private duty. Each Prime Minister, from Winston Churchill to Margaret Thatcher to Tony Blair, is portrayed not merely as a political figure but as a nuanced character, each bringing their own personality, convictions, and challenges to the fore. You can also clearly see who Morgan likes and dislikes.
Special attention is given to the relationship between Elizabeth II and Labour Prime Minister Harold Wilson, who was charmingly brought to life by Ron E. Rains. He appeared to be her favorite. And there was some delicious sparring with the corrupt Margaret Thatcher played excellently by Susie McMonagle, though her wig was dark brown and should have been that silly red blonde. It’s also very funny how universally Tony Blair seems to be despised by Tory and Labour alike.
While it’s clear Morgan did his research, leaning on Professor Vernon Bogdanor (Emeritus Professor of Government at Oxford University), the former tutor of David Cameron, Prime Minister from 2010 until 2016, for information on the substance of these discussions, the play, while it references real events does not seem realistic. I can’t imagine the incredibly reticent Queen ever speaking to a Prime Minister as she does in this play. She almost acts as a therapist to several of them (including Major and Cameron), and reveals too much personal information to others. It makes for good theatre, but don’t imagine it’s true. It’s not quite the utter fiction of Schiller’s Mary Stewart, but it’s not history.
The Queen, portrayed with a delicate balance of authority, vulnerability, and wit by the immensely talented Janet Ulrich Brooks, becomes the emotional anchor of the play. The audience witnesses her transformation from a young monarch still finding her footing, to an experienced ruler who understands the weight of her role, yet remains personally introspective. What truly elevates this play, however, is the poignant exploration of the isolation that comes with being a monarch—Morgan deftly reveals the lonely, almost melancholic, aspect of a life lived in perpetual service to the nation, especially with interactions with her childhood self, portrayed excellently at Drury Lane by Omi Lichtenstein.
The production’s design is nearly as clever as the writing, with fluid set changes that echo the passage of time, while costumes capture the Queen’s iconic look throughout the decades. Each transition feels seamless, transporting the audience effortlessly from one era to the next. I could quibble about the absolutely awful recreation of the Queen’s Iconic coronation gown, it’s like they didn’t even try, and Margaret Thatcher’s brown wig. But it’s assuredly era-appropriate throughout.
In sum, The Audience is not only a political drama but a deeply emotional and reflective meditation on power, duty, and the human experience behind the crown. Morgan has crafted a work of extraordinary depth, with layers that continue to resonate long after the curtain falls. It’s a must-see for anyone who appreciates sharp writing, historical insight, and compelling character studies. Again, if you are a fan of the Crown, here’s more from its creator and you are certain to enjoy this night of theatre.
All photos by Brent Beiner
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