Written by Melanie Tait
Directed by Priscilla Jackman
World Premiere season
Ensemble Theatre, 2024
“Based on the true story of Marion Crawford…Melanie Tait’s tartly funny three-hander explores ideas of colonisation – not of land of peoples, in this case, but of one woman’s life…. Tait’s tartly funny and inventive version might not please the most ardent monarchists, but she’s written it with skill and a winning wit…Priscilla Jackman, who helmed the STC hit RBG: Of Many, One, directs a crisp, sharply paced staging. Michael Hankin’s stylishly minimal set allows for quick shifts and seamless transitions. The devastation of war is economically captured in a shower of paper and a shaken-up doll’s house. Lighting (Morgan Moroney) and sound/music (James Peter Brown) are first-rate…Likewise the acting…I hope Tait is pitching The Queen’s Nanny to British theatres. The Old Dart needs to see it.”
Jason Blake
Limelight
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“Jackman deftly directs the play on a ‘nursery’ set designed by Michael Hankin…The attention to detail and preciseness is a continuing feature of the production. Jackman’s direction is concise, as is the dialogue through which Tait clearly identifies the place, the time and status of the characters. Every word and rhythm is clear, every action exact, every movement carefully considered and executed. Every sound and lighting cue (James Pater Brown and Morgan Moroney) is perfectly in sync with the tone and tenor of the action.”
Carol Wimmer
Stage Whispers
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“Director Priscilla Jackman works the actors hard, with minimal props and costuming, but everyone is up to the task and the dialogue sparkles… Tait and Jackman have worked together before, on Tait’s play The Appleton Ladies’ Potato Race, and it really feels like they are a true team. It was so great to see the show packed to the rafters with people of all ages in the audience and a genuine feeling of excitement and buzz around the work. More to come from this team I hope.”
Mary Anne Reid
Theatre Thoughts
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“There is a clarity and assuredness to The Queen’s Nanny, Melanie Tait’s new play at Ensemble Theatre, that makes for a thoroughly engaging watch…. Under the direction of Priscilla Jackman, recurring motif’s trip lightly through the auditorium. While the presentation is at times deliberately arch, there is an unforced and unfussy confidence to the production… the staging is refreshing and contemporary… Melanie Tait has threaded the needle between sensationalist drama and cosy character study with the skill of a master seamstress.”
Chad Armstrong
Cultural Binge
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“Directed by Priscilla Jackman, this is a exercise in storytelling and wonderful acting by Elizabeth Blackmore, Emma Palmer and Matthew Backer….”
Jade Kops
Broadway World
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“With her choice of director Priscilla Jackman, Tait could not have put her play in better hands. Jackman’s direction is flawless. Jackman’s creative team effectively bring all the non text based elements to play their important roles in the production…This is a fine play, blessed with an excellent first production, and is worthy and deserving of many future productions.”
By David Kary
Sydney Arts Guide
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“Melanie Tait’s script is a testament to her signature cleverness, brimming with wit and insightful commentary… Priscilla Jackman’s direction amplifies the text beautifully, bringing out the play’s emotional core with precision and subtlety. Jackman allows the story to unfold naturally, with a keen eye for pacing that ensures every moment feels earned. Her direction deftly balances humour and pathos, never shying away from the more challenging aspects of Marion’s story while also celebrating her resilience and spirit. Jackman’s approach is refreshingly restrained, allowing the actors to shine.”
Daniel Craig
The Plus Ones
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“ One of the things that makes this play so enjoyable is the great performances from the cast of three …Tait’s dialogue is snappy and witty; and Priscilla Jackman’s fine direction keeps everything crackling along crisply.”
Carrie Kablean
Megaphone Oz
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“The play is excellently paced, with the 90-minute runtime being the perfect balance between sufficient exposition and dramatic focus. Its construction is tight.. the play is critical in its focus… There can be no doubt that this is a superbly-written play where every emotion is felt by the audience and it sheds a new light on a much-discussed character. This production could do very well around the world… it provides a fresh perspective on historical themes which pundits and royal commentators continue to discuss to this day.”
Kiran Gupta
Musical Theatre AU
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“Director Priscilla Jackman’s minimalist staging of The Queens Nanny was inventive. Using easy props like a ladder, blackboard, a carpetbag, doll’s house and overhead train track, the mid-20th century is duplicated effectively. … The Queens Nanny is an intelligent play which can touch a nerve in those on both sides of the Republican debate. I presume the discussion will continue for some time.”
Eric Scott
Absolute Theatre
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“CUnder Priscilla Jackman’s dynamic direction, the characters’ humanity are tethered within a compelling narrative arc…This is the sort of play that reminds you why new plays are necessary and vital — not only are we entertained and delighted, we are encouraged to reevaluate history, through the lens of the marginalised, the largest cohort of them — women.”
By Jessie Tu
Women’s Agenda
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“It’s a play that needs to be seen throughout Australia ready for next year’s election, probably in May. You need to understand Marion Crawford’s story before you vote.”
Frank McKone
Canberra Critics Circle