When King George V died, his elder son David became King Edward VIII.

The wireless had become an important method of mass communication, which filled David’s brother Bertie with dread as he had always had a problem with a stammer. His wife Elizabeth had persuaded him to meet Lionel Logue, an Australian who had a reputation as someone who could cure stammering. The meeting didn’t go well – Logue was easy-going and informal, Bertie was reluctant to ditch class barriers and protocol, insisting that Logue keep a distance of five paces away.

Despite Bertie’s temper, things improved but having to speak in pubic was still a huge problem for him.

On Edward’s abdication, Bertie reluctantly had to take over as George VI. His treatment continued and Bertie and Logue became friends. “What are friends for?” asked Logue. “I wouldn’t know”, Bertie replied. You get the impression that neither had many friends, but they were well supported by their wives.

As Bertie, Peter Sandys-Clarke gave a commanding performance, bringing out his vulnerability as well as his drive to fix the problem. The stammer was well controlled and not overplayed. Arthur Hughes as Lionel was the perfect foil to Bertie, their differences providing humour and tension as they worked towards his important first radio speech after Chamberlain’s declaration of war.

Jim Kitson was an irascible George V and excelled as Churchill, getting the voice just right. Aamira Challenger as Bertie’s wife Elizabeth gave him the support and encouragement he needed.

Christopher Naylor played the scheming Cosmo Lang, Archbishop of Canterbury, trying to get Bertie to be treated by someone better qualified than Logue.

Rosa Hesmondhalgh had two very different roles as Lionel’s wife Myrtle, eager for them to return to Perth – they never did – and David’s wife Wallis Simpson. The parallels with Harry and Megan were inescapable.

Stephen Rahman-Hughes played David – a thoroughly unpleasant character, looking down on and teasing Bertie – and Stanley Baldwin.

Directed by Emma Butler, this was a moving, well-acted and very enjoyable production.

PAUL SHAVE

David Seidler’s play The King’s Speech is totally engaging. It’s set in the 1930s when the country is on the brink of war with Germany and in political chaos. Bretta Gerecke's gorgeous design perfectly reflects the period with dark wooden planks that fill the stage, and every inch of the Watermill’s stage is creatively used.

The monarchy is in disarray; King George V has died, conveniently in time for his death announcement to appear in the morning edition of The Times. Jim Kitson portrays the pompous King and also gives a commanding performance as Winston Churchill.

The King’s heir, Edward VIII (Stephen Rahman-Hughes), totally captures his playboy style. He causes a constitutional crisis when he announces that he’s going to marry the twice-divorced American Wallis Simpson (Rosa Hesmondalgh) and is forced to abdicate.

Consequently, the throne passes to his younger brother. Peter Sandys-Clarke gives an impeccable performance as Bertie, who has suffered from a stammer since a boy and the thought of giving public speeches horrifies him, especially since it’s now broadcasted through the invention of radio.

As a last resort, his wife Elizabeth (Aamira Challenger) seeks help from an Australian speech therapist, Lionel Logue, outstandingly played by Arthur Hughes, to help Bertie overcome his impediment.

The nub of the play is the relationship between these two men of very different classes, and the chemistry between them is electric. Lionel’s unconventional approach in convincing Bertie that he “has a voice that needs to be heard” is painstakingly unfolded. He wanted to be an actor but had little success in his quest to achieve this.

The Archbishop of Canterbury, Cosmo Lang (Christopher Naylor), discovers that Lionel has no academic qualifications and accuses him of being a fraud, but Bertie dismisses this claim and continues with his huge personal challenge to deliver his radio broadcast on the outbreak of WWII live on the BBC.

Emma Butler’s impressive direction is pin-sharp and is complemented by Robin Colyer’s powerful sound design and Ryan Day’s emotive lighting.

This is a moving, astute production that is simply unmissable.

ROBIN STRAPP