This particular fact-based fiction was clearly under the eye and control of an experienced and decisive director. Linda Dyne took what is effectively a set of duologues and created a flowing piece of speculative drama, underpinned by creative design and some excellent period costume. The minimal but highly effective set gave way to the main focus, which is of course the actors and their embodiment of the people that they’re recreating. All the costuming was satisfyingly accurate – the iconic white gown with blue sash and diamond tiara drew an audible gasp of appreciation from the audience.

Instantly putting us inside the palace, a very impressive gilded double doorway dominated upstage: the gold lifted the rich chocolate-coloured walls, while downstage two cream period chairs awaited their occupants, building a sense of anticipation. Throughout the piece, the resonance of the opening and closing of the doors provided articulate punctuation to each ‘audience’. The only other setting was that of Balmoral, suitably dressed with The Monarch of the Glen, tartan and comfy chairs.

All the technical aspects were spot-on, unobtrusive, supporting the actors. And this cast was without doubt a very skilful team.

The pivotal role of Queen Elizabeth II is a huge challenge. Suzie Major was inspired casting and she carried the whole piece with aplomb. To play a living icon, whose every movement and vocal nuance is so well-known, presents many difficulties but Suzie didn’t put a foot wrong. Her physical interpretation was studied and accurate, using changes in physical and vocal delivery to reflect her age and position. Her timing of the dryly humorous lines was impeccable and we all felt the warmth and humanity.

Elizabeth’s childhood and younger self was energetically played by Tammy Wall, giving us an impassioned reminder of the active sacrifice demanded in order to live this particular life of service. There were some tender moments with Stephanie Cotter whose characterisation of the beloved nurse Bobo was on point, particularly enigmatic as she sang a lullaby.

The role of the Equerry provided context from the outset, and throughout the piece, telling us where we were and what we were looking at (very Shakespearean!). Keith Thompson’s confident and imposing stage presence, great diction and projection (but managing to speak volumes by the merest change of facial expression), gave us what we needed, not least of which was the reassurance from the outset that we were in safe hands.

Mel Powell gave us a Churchill that was not only visually and vocally convincing; his patronising explanation of ‘how things work’ was made all the more effective by his distanced prowling as the Queen tried to present her homework. He offered minimal eye contact as he hurried through his customary time allocation, ensuring that we were not in any doubt as to who was in charge here, for the time being at least.

John Major (the grey man of politics, the boy who ran away from the circus) was endowed with an unexpected warmth and personality by Simon Parr. The exchange about the value and importance of a formal education was beautifully played, with an understandably halting reluctance to admit to only three O-levels!

Harold Wilson was well known to be a favourite PM, earning the respect and affection of the Queen. Played with open honesty by Peter Sayers, but without the iconic pipe and the associated business, I was left feeling that the character was missing a vital component. The later assertion that actually this was a device that Wilson used to underpin the public perception of him as a working man of the people, left me disappointed.

David Thompson as Gordon Brown showed us a reflective and somewhat burdened man, the reluctant PM yearning for a more academic life. David’s accent was consistently secure and along with a physically defeated posture earned some perhaps unexpected sympathy.

Anthony Eden is one of the least well-known figures included in this piece and therefore most difficult to recreate. Ian Major was completely satisfying in his portrayal, much of which rested on his posture and control. His vocal delivery made the terse interplay with the Queen seem an entirely possible and believable scenario.

And so to Margaret Thatcher – what a gift for an actor! There is a real challenge here in this ‘love her / hate her’ role. While Suzie had the whole play in which to reveal the various facets of the character, Amanda Sayers had to get in, do the job and get out again in no time at all! There’s a fine balance between playing a harridan and an intelligent, assertive, ground-breaking individual. The tension built as we were given warning that ‘she’ was on her way, the doors burst open and we were in the maelstrom. Amanda’s performance was strong, in every sense of the word, passionate and assured. Vocally commanding, physically intimidating and with controlled timing she dominated the scene, much to my personal discomfiture and outrage that the Queen could be treated so disdainfully. I’m still not sure who came out on top!

Last (and possibly least) came David Cameron, a modern man, an urbane career politician. Alistair Woodgate did a great job in reflecting all of these aspects. He had the floor, relaxed and assured, with great vocal and physical presence as he talked AT us all, and he knew exactly how to tune his performance when the focus inevitably shifted from him to the dozing monarch.

This was a highly polished and enjoyable production.

If I have one slight criticism, it is of the play itself – although the historical time-line is adjusted, with costume changes sparking interest and the variable pace of the ‘audiences’ was well structured, the regularity of the format became unavoidably predictable. Fortunately, the play came to a close just as my interest was beginning to wane, leaving me feeling very satisfied with the experience.

Thanks to everyone involved for a brilliant evening’s entertainment.