Review: Crown Matrimonial - Sewell Barn Theatre (15.01.2026)

So-called Royal scandals have been fairly commonplace in most of our lifetimes, with media interest swelling hugely in the 80s and 90s leading to the perhaps oversaturated coverage of today. But in the 1930s, where Crown Matrimonial largely takes place, the public and indeed the Monarchy were rocked by the first major Royal scandal of the 20th century as King Edward VIII chose to abdicate in order to marry the twice divorced American socialite Wallis Simpson.

Playwright Royce Ryton respectfully, but one suspects melodramatically, imagines the conversations that took place behind closed doors at Marlborough House, the home of Queen Mary, mother to King Edward VIII, or David as he is known informally by his family.

While the piece centres around the actions of the wayward monarch, embodied perfectly by Alex Tiller as someone whose sense of duty is usurped by emotion, its driving force is the matriarch Queen Mary, played with a bewildered stoicism by the excellent Julie Benfield.

The first Act is primarily concerned with Edward justifying his pursuit of love and happiness and in turn hearing his mother and sister fret over what might become of the Crown should he follow his heart.

However, the second Act sees us introduced to the Duke and Duchess of York (who would become King George VI and Queen Elizabeth) as the ramifications of Edward's actions hit home. This gave Gee Hill the chance to shine as she offered a commanding cameo as a rather hostile, but fiercely protective Duchess, while Stephen Crawford-Brown was quietly endearing as the painfully reluctant, stammering would-be King.

King Edward VIII (Alex Tiller) and Queen Mary (Julie Benfield) - photo by Reflective Arts

An equally strong supporting cast help to beef up the play with impressive turns from the likes of Jane Keidan, portraying the Countess of Airlie whom Queen Mary confides in, and Emily Cooper as Mary, the Princess Royal whose frustrations with her brother are obvious.

The whole piece is framed by an impressive set which captures the regal opulence of Marlborough House, where all of the play takes place. While the play wasn't especially lengthy, the final scene, where Edward returns to visit his mother nine years after his abdication (and immediately post WWII) felt like one too many, with little to learn other than an apparent softening of the now Queen Mother.

It's well worth watching on the strength of the fine company performance, but those of us whose interest in the Monarchy may have been piqued by mainstream hits such as Netflix's The Crown will find this a compelling piece of Royal history, as well as those with a general historical interest too.

Crown Matrimonial continues its run at the Sewell Barn Theatre on the 16 & 17 Jan, and then between the 21-24 Jan.