‘The King’s Speech’
By David Seidler
Directed by Benjamin Kilby-Henson
Produced by The Court Theatre
Stewart Family Theatre, The Court Theatre
Until 25 October
Duration: 130 minutes (with 20-minute interval)
Reviewed by Kineta Knight
⭐⭐⭐⭐⭐
History was made at The Court Theatre last night when ‘The King’s Speech’ received an instant, thundering opening night standing ovation – the first I’ve witnessed in the new Stewart Family Theatre, and I’ve been fortunate to attend them all.
This New Zealand premiere, based on the Academy Award-winning film, was heartfelt, commanding, and utterly compelling.
Set against the looming shadow of war, the play follows the extraordinary journey of Bertie, Duke of York, who never expected to be king. When his elder brother abdicated the throne in 1936, Bertie found himself suddenly crowned King George VI. But with the nation on the brink of conflict, his greatest obstacle was not political – it was personal.
Crippled by a lifelong stammer, exacerbated by strict parenting, torture from his nanny, teasing from his brother, and unrelenting public expectation, he struggled to deliver the one thing Britain needed most: a voice of strength and clarity.
‘The King’s Speech’ tells the remarkable story of how Bertie, with the unlikely help of an unconventional Australian speech therapist, Lionel Logue, overcame his fears to lead his country through one of its darkest hours.
At the heart of this production is Jason Hodzelmans as Bertie. His performance is remarkable, capturing the physicality and frustration of a man trapped by his own voice. Hodzelmans paces his stammer with painstaking precision, never reducing it to parody, instead showing the toll it takes on Bertie’s confidence and dignity. His transformation – from hesitant, broken pauses to the steady cadence of the climactic wartime broadcast – is thrilling and profoundly moving to witness.
Praise must also go to speech language therapist Tika Ormond, who worked with the cast to ensure Bertie’s portrayal was authentic rather than a caricature of stuttering.
Cameron Douglas is superb as Lionel Logue, infusing the role with warmth, wit, and an unshakeable irreverence that disarms both Bertie and the audience. Douglas makes Lionel’s methods feel both mischievous and deeply compassionate, and the chemistry between him and Hodzelmans forms the emotional heartbeat of the play. Their sparring, joking, and tentative trust evolve into one of the most convincing friendships seen on stage in recent memory.
The supporting cast enriches the world around Bertie with equally strong performances. Amy Straker brings grace and quiet steel as Elizabeth, standing unwaveringly at Bertie’s side. James Kupa delights as an indomitable Winston Churchill, his presence commanding yet laced with humour. Matt Hudson impresses in his multiple roles, particularly as King George V, whose sternness weighs heavily on his son. Emma Newborn adds warmth with a touch of wit as Lionel’s wife Myrtle, while Hillary Moulder’s poised Wallis Simpson and Olly Humphries’ charming yet irresponsible David highlight the pressures of a family and monarchy under strain. Cameron Clayton as Archbishop Cosmo Lang rounds out the ensemble with a sharp and knowing presence.
Of particular note are Kupa and Clayton, whose pairing is both dynamic and memorable. Kupa’s Churchill brings a twinkle of mischief and bulldog determination, every line delivered with wit and confidence. By comparison, Clayton’s Lang is all stiff formality, embodying the voice of tradition and rigid authority. Together they are magnetic, their opposing energies creating a fascinating friction. With an almost comic tension, the two characters pull Bertie in opposite directions: one urging him forward with faith in his personal strength, the other binding him to the expectations of monarchy and church. It’s a dynamic that enriches the drama, making Bertie’s struggle – and eventual triumph – all the more compelling.
Director Benjamin Kilby-Henson shapes the production with both grandeur and intimacy. He honours the historical sweep while focusing firmly on the humanity at its centre. The pacing never falters, and moments of comedy are allowed to shine without undermining the drama.
Visually, the production is stunning. Daniel Williams’ set is clever in its adaptability, evoking royal halls, Lionel’s office, and broadcast studios with seamless transitions. Pam Jones’ costumes root the piece firmly in its 1930s setting, rich in detail and elegance.
Rachel Marlow’s lighting design shifts mood and focus with subtle brilliance, while Matt Short’s sound design heightens tension, particularly in the final broadcast scene, which had the audience holding its breath through its seamless transition from theatre to reality. Zoe Buckland’s meticulous work in wigs and facial hair enhances authenticity, while stage managers Jo Bunce and Diana Lines keep the technical execution sharp and fluid.
‘The King’s Speech’ at The Court Theatre is more than a play – it is an event. With its exceptional performances, meticulous design, and sensitive direction, it has set a new standard for what Christchurch theatre can achieve. This is a triumph in every sense, and a historic moment that will be remembered long after the season ends – a season not to be missed.
