Photo courtesy of Fox Chapel Publishing.

 A Tribute to Queen Elizabeth II, Commemorative Edition: 1926-2022 The Life and Reign of Her Majesty
By Scott Reeves, Jon Wright, June Woolerton & others
Fox Chapel Publishing
$17.99 US/$22.99 Canada
Available at booksellers, newsstands & on Amazon.com

By Scott Harrah

Royal lovers and fans of the late Queen Elizabeth II will enjoy the glossy, photo-packed paperback A Tribute to Queen Elizabeth II: Commemorative Edition: 1926-2022 The Life and Reign of Her Majesty, published in late 2022 shortly after Her Majesty’s death. King Charles III will have his official coronation on May 6, 2023, but his mother—the longest reigning British monarch ever—left behind an iconic legacy that this book so vividly chronicles, in painstaking detail, with many facts and anecdotes one may not have read before. Broadway and West End theater fans have seen many depictions of the royal family and in particular the late Queen Elizabeth II in The Audience, starring Helen Mirren.

A Tribute to Queen Elizabeth II: Commemorative Edition: 1926-2022 The Life and Reign of Her Majesty chronicles Elizabeth’s life from childhood to her marriage to Prince Philip, how she became Queen after her father’s untimely death in 1952, her coronation, family and her more than 70-year reign. The book explains how she helped build the British Commonwealth after the Empire fell, remaining one of the world’s most influential heads of state, her important state visit to China in 1986, her royal tours, and more. We also learn about her family history and why and how she put duty first and self second, making her popular all over the world. Everything is told via carefully researched chapters and never-before-seen photographs of the Queen and her family.

The 128-page paperback is divided into chapters ranging from “The Windsor Family Tree” and “Birth of a Queen” to “What Did You Do in the War, Ma’am?” and “The Prince, the Nazis and the Broken Home” to “The Wedding of Princess Elizabeth & Prince Philip” all the way up to “Elizabeth’s Annus Horribilis” in 1992 and “The Modern Monarchy,” discussing Prince William marrying Kate Middleton and Prince Harry marrying Megan Markle.

A Tribute to Queen Elizabeth II: Commemorative Edition: 1926-2022 The Life and Reign of Her Majesty is simply a must for admirers of the late Queen, history lovers and anyone interested in the British monarchy.

Published January 30, 2023

Young Queen Elizabeth II. Photo courtesy of Fox Chapel Publishing.

Princess Elizabeth in the London News in 1935. Photo courtesy of Fox Chapel Publishing.

Her Majesty, Queen Elizabeth II & His Royal Highness, Philip, Duke of Edinburgh on their wedding day, November 20, 1947. Photo courtesy of Fox Chapel Publishing.

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FOUR FACES OF HM, QUEEN ELIZABETH II: (left to right, top) HRH Princess Elizabeth, young Queen Elizabeth II & (bottom, left to right) Queen Elizabeth II in middle age & as an older woman. Collage: Photos from public domain archives.

By Scott Harrah

NEW YORK—Pro-Black, pro-LGBTQ+ and a feminist at heart—holding her own as the most powerful woman in modern times in a world dominated by male leaders—the late HM, Queen Elizabeth II, who died September 8, 2022  at age 96, was not the “symbol of colonialism and oppression” some have claimed she was. She was a strong woman and an unlikely feminist first and foremost who reigned for 70 years, starting out in 1952, back in the days when it was a so-called “man’s world.” Although she was Defender of the Faith of the Anglican Church of England and the Presbyterian Church of Scotland and Wales, she understood that she was head of state in many Commonwealth nations populated with people of color of different faiths. She respected Muslims and Hindus, particularly Pakistanis and Indians who left the Indian Subcontinent when colonial British India gained its independence in 1947 and many relocated to the British Isles. She formally acknowledged Muslim holidays like Ramadan and such Hindu celebrations as Diwali in the UK. She and other British Royals often wore green each year on St. Patrick’s Day in honor of the many Irish immigrants living in the UK. In 2011, Elizabeth II was the first British monarch to visit the Republic of Ireland in more than 100 years. Many Irish citizens were in tears seeing her visit the Emerald Isle because The Queen’s very presence was an olive branch to the Irish after centuries of hostilities and exploitation by the British.

During her 70-year reign, Queen Elizabeth II helped fight against racism and bigotry not only in the United Kingdom but also in the British Commonwealth. When the rest of the world placed sanctions on the racist white minority apartheid rulers in South Africa, The Queen stood her ground against then PM Margaret Thatcher and the Tories when Mrs. Thatcher refused to place sanctions on South Africa’s racist government and its apartheid policies. The Queen formed a lasting friendship with Black activist Nelson Mandela long before he became the leader of South Africa.

South African President Nelson Mandela in a formal state meeting with Her Majesty, Queen Elizabeth II at Buckingham Palace in 2000. Nelson Mandela & the Queen became friends long before he was elected South Africa’s first Black president. Photo: Screenshot courtesy of the Associated Press.

“The Queen has been described in recent press reports as worried that Mrs. Thatcher’s firm opposition to sanctions threatened to break up the 49-nation Commonwealth. The Queen reportedly also believes that Mrs. Thatcher’s Conservative Party Government lacks compassion and should be more caring toward less privileged members of society, “ The Sunday Times said at the time.

Her Majesty, Queen Elizabeth II with South African President Nelson Mandela in Cape Town in 1995. Photo: Courtesy of The Royal Family Archives.

The Queen also was pro-LGBTQ+ and an unlikely feminist. She opened British Parliament in 2017 with a statement regarding LGBTQ+ & women’s rights. “My government will make further progress to tackle the gender pay gap and discrimination against people on the basis of their race, faith, gender, disability, or sexual orientation,” she said, according to Town & Country magazine.

The British LGBTQ+ media site Pink News reported this was the first time LGBTQ+ rights were mentioned by Her Majesty since 2003. Nineteen years ago, she vowed to “increase equality and social justice by bringing forward legislation on the registration of civil partnerships between same-sex couples.”

It took many years during her 70-year reign for LGBTQ+ rights to be established in the UK. “Private homosexual acts between men over the age of 21 were not decriminalized in England and Wales until 1967, 15 years after Elizabeth ascended to the throne. The same law was not changed in Scotland until 1980, and in Northern Ireland until 1982,” Town & Country said in a June 22, 2017 article.

(Right to left): The late Prince Philip, Duke of Edinburgh & Her Majesty, Queen Elizabeth II with a young actor & the horse backstage at the West End drama ‘War Horse’ in London circa 2009. Photo: Ellie Kurtz.

May Her Majesty, Queen Elizabeth II, Rest In Peace. Hers is a royal reign to remember. She was a true icon and pioneer and there will never be another British monarch like her. StageZine pays tribute to the late Queen because she inspired many Broadway shows, from The Audience with Helen Mirren to King Charles III and many more, as well as Hollywood films like The Queen (about her initially cold, stoic reaction to Princess Diana’s death and how the monarchy almost collapsed as a result of a vociferous public outcry and bad press until she listened to PM Tony Blair and made a public speech on TV honoring Diana, followed by a lavish state funeral the next day). More than anything, however, she was a global phenomenon and will be missed by many.

HM, QUEEN ELIZABETH II: The monarch’s many looks throughout her 70-year reign. Photos: Public domain photos of The Queen from various sources.

Photo collages courtesy of various online sources. Screenshot of Her Majesty, Queen Elizabeth II with Nelson Mandela in Cape Town in 1995 courtesy of The Royal Family Archives. Screenshot of South African President Nelson Mandela meeting the Queen at Buckingham Palace in 2000 courtesy of AP.

Reviews of Broadway shows inspired by the Queen & the British Royal Family

The Audience, starring Helen Mirren

Helen Mirren Reigns as Queen in ‘The Audience’

King Charles III, starring the late Tim Pigott-Smith

‘King Charles III’: Battle Royale

Diana, The Musical, starring Jeanna de Waal

‘Diana, The Musical’: Not a total Di-saster

#QueenElizabethII #ripqueenelizabeth #RoyalFamily

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LONDON—Due to the scheduling of the funeral of Her Majesty Queen Elizabeth II, and out of respect for all who are mourning, most shows in central London have now announced that they will be closing on 19 September, 2022.

Ticketholders will receive an email from their point of purchase with details regarding exchanges and refunds. Throughout the period of national mourning, performances will go ahead as planned but we would advise audiences coming into central London to allow more time for their journeys to and from the theatre from Wednesday when the Queen will be lying in State.

In regards to the national one-minute silence at 8pm on Sunday 18 September, shows that are playing on that evening will mark this prior to curtain up.

For further information please see Official London Theatre

Information for theatregoers throughout the period of national mourning

Last Updated 14 September 2022

Below is some useful information on theatre in London during the period of national mourning and in the run up to the funeral of Her Majesty The Queen Elizabeth II.

Information about theatre this week

Throughout the period of national mourning, performances will go ahead as planned but we would advise audiences coming into central London to allow more time for their journeys to and from the theatre.

From 5pm Wednesday 14 September the public will be able to pay their respects to Her Majesty The Queen lying-in-state in Westminster Hall. The Hall will be open to the public 24 hours a day until the early morning of Monday 19 September.

At 2.22pm on Wednesday 14 September, there will be a procession of the Her Majesty The Queen’s coffin from Buckingham Palace to Westminster Hall along The Mall and House Guards Parade. This area will be extremely busy from mid-morning, with public viewing area opening from 11am. Several central roads will be closed to cars, so Transport for London have advised that walking, tube and train will be the best modes of transport.

Around Westminster and Southbank will be incredibly busy this week, and we expect the West End will also be much busier than usual.

The government and TfL have advised that the following stations will be very busy: Charing Cross, Embankment, Hyde Park Corner, Piccadilly Circus, St James’s Park, Temple, Victoria, Waterloo & Westminster. They are asking that Green Park station only be used to provide a step-free route to those with accessibility needs, so customers visiting the West End should avoid this station. Due to road closures, some buses will also stop short of their destination or will be on diversion.

We recommend that you leave plenty of time to get to your performances and check transport advice – including the TfL website and the government website on the event – on the day.

Information about theatre on Monday 19 September

Due to the scheduling of the funeral of Her Majesty Queen Elizabeth II, and out of respect for all who are mourning, most theatres in central London have now announced that they will be closing on 19 September. If you’re unsure whether a show you have tickets for is going ahead, check directly with the theatre’s website.

Ticketholders will receive an email from their point of purchase with details regarding exchanges and refunds.

Regarding the national one-minute silence at 8pm on Sunday 18 September, shows that are playing on that evening will mark this prior to curtain up.

The below shows have confirmed that performances scheduled on Monday 19 September will no longer be going ahead. We will add to this list as they are announced.

& Juliet (Shaftesbury Theatre)

Antigone (Regent’s Park Open Air Theatre)

The Apology (Arcola Theatre)

Back To The Future: The Musical (Adelphi Theatre)

The Book Of Mormon (Prince Of Wales Theatre)

Cabaret (The Kit Kat Club at the Playhouse Theatre)

Come From Away (Phoenix Theatre)

The Crucible (National Theatre)

Dear Evan Hansen (Noël Coward Theatre)

The Doctors’ Orchestra (Cadogan Hall)

Eureka Day (The Old Vic)

Don Giovanni (The Royal Opera House)

Grease The Musical (Dominion Theatre)

Hamilton (Victoria Palace Theatre)

Handbagged (Kiln Theatre)

Jersey Boys (Trafalgar Theatre)

Life Of Pi (Wyndham’s Theatre)

Mamma Mia! (Novello Theatre)

Mary Poppins (Prince Edward Theatre)

Moulin Rouge! The Musical (Piccadilly Theatre)

The Mousetrap (St Martin’s Theatre)

Only Fools And Horses The Musical (Theatre Royal Haymarket)

The Phantom Of The Opera (Her Majesty’s Theatre)

To Kill A Mockingbird (Gielgud Theatre)

Shakespeare’s Globe will suspend all tours, events, activities and performances

The first preview of Blues For An Alabama Sky at the National Theatre on Tuesday 20 September has also been cancelled.

Her Majesty’s Theatre in London (above). Photo: Courtesy of Official London Theatre.

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‘KING CHARLES III’: Tim Pigott-Smith as Charles at the Coronation. Photo: Joan Marcus

KING CHARLES III
Written by Mike Bartlett
Directed by Rubert Goold
Music Box Theatre
239 West 45th Street
(212-239-6200), www.kingcharlesiiibroadway.com

By Scott Harrah

The Queen is dead. Prince Charles is now King.

As the show opens, we see the Windsors on a dark stage, holding candles and singing an Anglican-style requiem in Latin for their beloved Queen Elizabeth II. From the very first scene, it is evident that playwright Mike Bartlett and director Rupert Goold have created a distinctly British saga that is mired in the complex machinations of “The Crown in Parliament,” for what follows is as much a story about the royals’ place in politics as it is about their glamour.

Last season’s The Audience starred Oscar winner Helen Mirren as Her Majesty, and took dramatic license to depict what was discussed during decades of the Queen and her private weekly meetings with various prime ministers. This latest British import about the Crown isn’t even based on fictionalized “facts” or history. The whole show, featuring a cast of outstanding British actors, is a nearly three-hour hypothesis of what could happen when Elizabeth dies. The show raises numerous questions about the validity and relevance of the monarchy in the 21^st century and is consistently riveting.

The British monarchy is merely a curiosity for Americans. Prince Charles and Camilla, Princes William and Harry, Kate Middleton, Queen Elizabeth II and the late Princess Diana are simply celebrities to us. Americans follow the merry lives of the Windsors as if they are well-dressed characters on an upscale reality TV show, but there is more to the monarchy than scurrilous gossip. For people in the United Kingdom and the Commonwealth, the monarchy is a controversial institution indeed that is the foundation of government, history and culture, and something citizens of these “realms” have strong opinions for and against. The head of state, though a figurehead, is not elected but instead “anointed by God himself,” and everything related to the government is named after the monarch. In addition, the monarchy costs taxpayers money, so the royals’ “role” is constantly questioned by critics. The very existence of this anachronistic tradition is challenged, in epic, tragicomic, Shakespearean detail in Mike Bartlett’s Olivier Award-winning “future history” play.

Tim Pigott-Smith as Charles and Adam James as Mr. Evans, the British prime minister, are both magnificent. It is the king and his prime minister—and their endless clashes—that make the drama so fascinating and give the show a Shakespearean feel, thanks to the two actors’ richly textured portrayals. Shortly after his mother’s funeral, Charles has his first weekly audience with the prime minister. A bill for statutory regulation of the press has passed in Parliament and the PM simply needs Charles’ signature (royal assent) to become law. The trouble is, Charles knows that regulating the media also restricts freedom of the press. The PM says it would help avoid future hacking scandals and violations of privacy (referring, of course, to the voicemail hacking crimes at the News of the World). The most ingenious aspect of the play is author Mike Bartlett’s idea of Charles being a royal with a mind of his own, rather than simply being known for cheating on Diana with Camilla (Margot Leicester).

Charles, at least in Mr. Bartlett’s mind, wants to make an actual difference as a monarch. Charles believes regulating the press would lead to government censorship of legitimate news, and open the door for corruption in Parliament that the press couldn’t accurately cover.

Charles defends the press that has made his family’s lives such hell. Because, in Britain, the monarchy only “rules” by public opinion (one nurtured by the press), so the sovereign and Fleet Street have an ongoing symbiotic relationship. It’s truly fascinating theater to watch if—and only if— one is interested in the monarchy, the ethics of journalism and democracy, or the arguments for and against the royals’ existence.

Charles is later visited by a Ghost (Sally Scott), who turns out to be his late ex-wife Diana. Like the witches in Macbeth, this paranormal visitor has a prophecy, but it’s a good one. For the husband for whom she loved and was emotionally tortured by in life, she says, “You will be the greatest king ever.” She is portrayed as a ghoul with a black veil (sorry, no Versace gown, Diana fans). When he tries to question what she means, she vanishes. She makes another appearance to son William and tells him he will also be the greatest king. Confusing at first, but without giving too much plot away, Diana’s cryptic prophecies ultimately come true.

The most trenchant scenes in King Charles III involve Mr. Pigott-Smith playing the new king dealing with nasty clashes in Parliament, and the last 15 minutes of the show in which the fate of the monarchy is finally decided. Mr. Pigott-Smith is truly heartbreaking in his final showdown with William, Harry and Kate. Every raw hole of his soul is bared, and Mr. Pigott-Smith brilliantly depicts the pain Charles feels. His final soliloquy to his children is one of the finest moments of acting you’ll see on Broadway this season, as haunting as anything from Shakespeare’s King Lear or Macbeth.

Oliver Chris is effective as William, as is Lydia Wilson as wife Kate. Both are supposed to display a conniving, Machiavellian streak, but seem to have been cast simply because they look similar to the real-life Will and Kate. Margot Leicester plays Camilla with unconditional love for Charles, Miles Richardson as James Reiss, Charles’s acerbic, sarcastic press secretary, is first-rate. Mr. Richardson’s James Reiss delivers many poisonous bon mots with aplomb.

The most unnecessary subplot involves Harry (Richard Goulding), the ginger-haired, hard-partying playboy. Mr. Goulding does a fine job as Harry, but watching him stagger drunk across the stage, talking about visiting a Burger King in Leicester Square and wishing to be a commoner, is pointless. Even more absurd is his fling with an art student, Jess (Tafline Steen), both of them parading around London streets. There are some other head-scratching moments, particularly the opening of Act II, when protesters outside Buckingham Palace wear silly masks straight out of V for Vendetta for no apparent reason

Rupert Goold directs everything at a gripping pace, which is no easy task with subject matter this epic and thorny. One wonders if the show could have been polished, with the aid of an American co-director, to trim the unnecessary subplots. To audiences in Britain or any Commonwealth nation in which the Windsors “reign,” King Charles III is heady, provocative stuff. In America, however, the complicated political narrative and convoluted back story limit its appeal. However, King Charles III is still a masterpiece. Love live the king.

Edited by Scott Harrah
Published November 8, 2015
Reviewed at press performance on November 5, 2015

‘KING CHARLES III’: Oliver Chris as Prince William, Duke of Cambridge & Tim Pigott-Smith as the new King Charles. Photo: Joan Marcus

‘KING CHARLES III’: Oliver Chris as HRH William, Duke of Cambridge & Lydia Wilson as HRH Katherine, (“Kate”), Duchess of Cambridge. Photo: Joan Marcus

‘KING CHARLES III’: Lydia Wilson & Tim Pigott-Smith. Photo: Joan Marcus

‘KING CHARLES III’: Margot Leicester as Camilla, Duchess of Cornwall & Tim Pigott-Smith as King Charles Photo: Joan Marcus

‘KING CHARLES III’: Tafline Steen as Jess, a new girlfriend for (right) Prince Harry (Richard Goulding). Photo: Joan Marcus

‘KING CHARLES III’: Tim Pigott-Smith. Photo: Joan Marcus

‘KING CHARLES III’: The cast sings a requiem for Queen Elizabeth II. Photo: Joan Marcus

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GOOD SHOW: Helen Mirren brilliantly portrays Queen Elizabeth II in ‘The Audience.’ Photo: Joan Marcus

THE AUDIENCE
Written by Peter Morgan
Directed by Stephen Daldry
Gerald Schoenfeld Theatre
236 West 45th Street
(212-239-6200), www.TheAudienceBroadway.com

By Scott Harrah

American theatergoers need not be experts on British history and politics to appreciate this engrossing saga of Queen Elizabeth II (portrayed by the always magnificent Helen Mirren) and 12 of her prime ministers throughout her 63-year reign. Her Majesty’s weekly “audiences” with prime ministers are cloaked in secrecy, so this gives playwright Peter Morgan (who also wrote the film The Queen, for which Ms. Mirren won the Best Actress Oscar) lots of artistic license to speculate on whatever he thinks the iconic sovereign and her PMs said. It is a fascinating evening of theater regardless of how accurate the conversations are, with Ms. Mirren giving the most richly textured performance of her illustrious career.

Even the most vehement anti-monarchy republican would have difficulty resisting Her Majesty as depicted by Ms. Mirren, with Mr. Morgan’s brilliant narrative, because she is never characterized as an anachronistic figurehead. Instead, Ms. Mirren and Mr. Morgan’s Queen Elizabeth II transcends her critics and emerges as a conscientious, intelligent woman who has been devoted in service to the United Kingdom and the entire British Commonwealth for more than six decades. Here, Her Majesty is consistently multifaceted and never comes across as a caricature because Ms. Mirren imbues her with a palpable dignity and vulnerability that makes us appreciate the sense of duty and the incredible weight, burden, and sacrifice involved with wearing the crown.

Some may think Ms. Mirren would simply rehash her role in The Queen, a film that portrayed the sovereign’s controversial reaction to Princess Diana’s death in 1997 and how the monarchy almost crumbled as a result. As illuminating as the script and Ms. Mirren both were in that film, Her Majesty is revealed as a far more complex woman here, and that’s why The Audience is such a masterpiece. Much of what Americans know about Queen Elizabeth II and her famous family is tabloid fodder, but here we learn that there is far more to her than her simply being the world’s most famous woman, a dowdy dowager with children and grandchildren that have been involved in scandals throughout the years. She is, after all, one of the longest serving heads of state anywhere.   Of course, all the famous aspects of Queen Elizabeth II are shown, from her poofy hairdos and pearls to real Corgis that run around the palaces at times.

All but one of the 12 prime ministers (Harold McMillan) that have served Queen Elizabeth II pay visits to Buckingham Palace in London and Balmoral in Scotland in The Audience, from Winston Churchill (Dakin Matthews) to Harold Wilson (Richard McCabe) to Margaret Thatcher (Judith Ivey) to John Major (Dylan Baker), Gordon Brown (Rod McLachlan) and Tony Blair and David Cameron (both played by Rufus Wright).

The most incredible thing about the show is how Ms. Mirren morphs flawlessly in scene after scene to show Her Majesty throughout the decades, with only minor costume changes and an arsenal of spot-on facial expressions to depict Elizabeth at different points in time. There is no need for excessive make-up to show the monarch aging, and Ms. Mirren never simply tries to impersonate the Queen. Ms. Mirren’s is an all-around, richly layered portrayal of the many roles of Elizabeth II: wife, mother, sovereign and, most all, a woman who has defined her era

This is no easy task considering that Elizabeth II, as a constitutional monarch, is expected to support her prime ministers at all times and remain objective, but we see the myriad critical points she has experienced in her reign, from the Suez Canal crisis under Anthony Eden (Michael Elwyn) in 1956 up to Tony Blair leading Britain, along with the United States, into the invasions of Afghanistan in 2001 and Iraq in 2003.

Of all the “audiences,” the most fascinating in the drama is Judith Ivey’s incandescent performance as Margaret Thatcher. Ms. Ivey has the late Thatcher’s accent and mannerisms down to a science, and she almost steals the show here when discussing, with heated, volatile passion, why she opposes economic sanctions against South Africa during the apartheid era, when the United Kingdom was that nation’s largest trading partner. This was one time when the Queen allegedly disagreed with a prime minister—the row was chronicled in the Times of London—because the monarch respected the beliefs of the African leaders in Commonwealth nations. Live theater simply doesn’t get any better than watching Ms. Ivey and Ms. Mirren playing two of the political world’s strongest all-time leaders in a lively debate.

In addition, we also see present-day Elizabeth talking in certain scenes with Young Elizabeth (alternated by Sadie Sink and Elizabeth Teeter). In these sections, Elizabeth speaks to her younger self and at first these scenes appear strained and unnecessary, but by the show’s end—with young Princess Elizabeth giving her famous BBC radio address from Cape Town, South Africa, in which she vows to live her life in service to the people of the Commonwealth—they make sense and we realize the scale of the woman’s life, and how she has remained devoted in a role she never planned on taking. We see how, even as a young girl, she was uncomfortable being called “Ma’am” and had trouble adapting to the numerous formalities that became requisite parts of her everyday life and the internal trappings of being royalty.

Stephen Daldry directs everything with seamless precision, and what is outstanding is how a story that covers more than 60 years flows so effortlessly and is never confusing or stilted, making The Audience one of the best new dramas of 2015.

MARGARET THATCHER & HER MAJESTY: Judith Ivey (left) & Helen Mirren. Photo: Joan Marcus

TONY BLAIR & HER MAJESTY: Rufus Wright & Helen Mirren. Photo: Joan Marcus

QUEEN ELIZABETH II & YOUNG ELIZABETH: Helen Mirren & Elizabeth Teeter. Photo: Joan Marcus

HER MAJESTY AT WORK: Helen Mirren in ‘The Audience.’ Photo: Joan Marcus

PRIME MINISTER HAROLD WILSON & HER MAJESTY: Richard McCabe & Helen Mirren in ‘The Audience.’ Photo: Joan Marcus

Edited by Scott Harrah
Published March 8, 2015
Reviewed at press performance on March 7, 2015

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