If you’ve never heard of Marion Kirk Crawford, you can be forgiven. She is one of history’s forgotten figures, like countless other women who led a life of servitude, caregiving and loyalty to others.
Except what makes Crawford stand out is that she was the caregiver to one of history’s most important individuals— Queen Elizabeth II.
Crawford was the educator and governess to Elizabeth II and her sister, Princess Margaret. Before her ascension to Queen at the age of 25, Elizabeth was simply known as Lilibet, or Princess Elizabeth by the public. Between the ages of seven and twenty-three, she was guided and cared for by Crawford, nicknamed “Crawfie” by the Royal family. For seventeen years, she put her own life on hold to tend to the needs of the future Queen of England. She put marriage and family planning aside. She cared for the two sisters like they were her own children. The tragedy of her story lies in its ending.
Sydney-based playwright Melanie Tait has adapted Crawfie’s life story to the stage at the Ensemble Theatre, in a new play The Queen’s Nanny, which opened last week. Her story is told with flair and acuity by a newspaper man (Matthew Backer) who narrates the years of service Crawfie gave. We follow her first meeting with the future Queen, through the Second World War, all the way to her own eventual wedding. It’s a tale told with charm, tenderness and empathy — Tait is not interested in judgement or taking sides.
Crawfie is portrayed as an obsequious, kind-hearted provider. Lilibet’s mother, The Queen’s mother, is sprightly and charged. Lilibet, played by Backer, taking on multiple roles throughout the 90 minute play, is sweet and dainty and on stage, played by a 30-something year old man — is obviously amusing.
The women’s relationship towards each other forms the emotional core of the script, the sun upon which the narrative circles. The play is interested in fleshing out the “colonisation of a woman” who, like most nannies, “Put in the hard yards / Raising children / Their work / Means another woman’s freedom…Bringing up other people’s babies / Forgotten.”
Elizabeth Blackmore is a steady caretaker, sensitively drawing on the pain of the real-life figure. Emma Palmer plays the role of the Queens’ Mother with just the right amount of pompous hilarity.
The music is never indulgent or obtrusive. Composer James Peter Brown has a cinematic touch, conveying the quiet bereavement Crawfie sustains throughout her career of caring for others.
The stage design (by Michael Hankin) is clever and stylish. A simple throne chair is used for maximal effect. So too the nanny’s carpet bag, which Blackmore carries from scene to scene like a detachable limb.
The play moves deftly from 1931 to 1987, towards the final year of Crawfie’s life. Tait draws the play to a remarkable close, allowing our heroine to repurpose her own life story. Under 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.
The Queen’s Nanny is now playing at The Ensemble Theatre in Kirribilli, Sydney, until 12 October, 2024.