The Queen’s Nanny, written by Australian playwright Melanie Tait, is Tadpole Productions latest theatrical release. It tells the story of Marion Crawford or ‘Crawfie’ who spent 17 years as governess to Princesses Elizabeth and Margaret the daughters of King George VI. The story covers major moments in the life of the royal family such as the abdication crisis, the Second World War, and the marriage of Princess Elizabeth to Phillip Mountbatten.
Beginning in 1931, Crawford set herself the task of educating the girls and nurturing their moral and emotional development and she formed a particularly deep attachment to Elizabeth (Lilibet).
As time passes, the task becomes a burden and Crawford is forced to give up her individuality, suppress her Scottish accent, and even put on hold her own romantic life. It was not easy, but she did it out of love and a sense of duty.
Eventually retired off at the age of 38 Crawford married and she and her husband were given a grace and favour home in the grounds of Kensington Palace. But the relationship with the Royal Family ended after a book about her years as governess was published. Feeling betrayed the royals shunned her and she eventually died in 1988 never having seen any of the royals again.
A central theme of this story is the incredible tension that exists between the individuals in the royal household and the institution itself. Monarchy is a relentless taskmaster and it requires a lot of sacrifice from everyone, no matter their status. Even the king and queen are under its iron grip and have put their own desires and needs to one side because the job simply requires it.
The script is clever and the playwright has clearly done her homework, but while it does use moments that are in the historical record, it also relies on speculative hearsay, and pushes stereotypes – particularly when it comes to the elder Queen Elizabeth and her supposed reputation as a lush with a tendency for ruthlessness.
All of this was delivered by just three cast members and they were all very good.
Anna Jullienne played Crawfie as a determined yet caring young woman and navigated the change from Scottish brogue to an upper class English accent with aplomb. She gave Crawfie a wonderful emotional depth.
Laura Hill was simply superb as Lilibet’s mother Queen Elizabeth. She played up the comedic aspects of the character extremely well, yet also allowed the occasional vulnerability to peep out. When it came to the tough decisions Hill’s display of strength and charm was mesmerising and clearly showed that the Queen took her role as guardian of the crown seriously.
Jack Buchanan was the third member of the cast and had a number of roles including the play’s narrator, King George VI, and even Queen Elizabeth II both as queen and as a young girl. He had an almost chameleon like quality, transforming from one role to the other with disarming ease.
The Queen’s Nanny is a fascinating piece of theatre that works because it is both irreverent and intimate. It’s not quite a history play, and it’s not quite a sitcom. Rather it straddles the border between the two and peeps behind the image of royalty and shows us these people are only too real and quite ordinary. Circumstance has put them in a position where they must do extraordinary things and sometimes, sadly, the result is not pretty or fair.
This is great theatre, intelligent, moving, and funny which proves that the real drama of royalty is deeply personal.
Photo credit – John McDermott
THE QUEEN’S NANNY
14-24 May 2026
The Pumphouse Theatre, Auckland
