Imagine a world in which monarchs are regularly murdered, and the person who did the dastardly deed becomes the next ruler. Now imagine if this murder was an accident and the person who inherited the role did not actually want the job. Here lies the central conflict at the heart of ‘A Queen’s Way’, performed by a cast of six from Napier University Drama Society, who filled the tiny stage with a zany group of characters.
Euan Raynal took on the roles of King Roderick and his mother, the Dowager Queen. As Roderick, Raynal filled the room with energy, literally throwing himself to the floor in petulant rage. His dowager queen was more subtle, quaking in fear at the idea of being banished to the dungeons. Maisie Lumgair played the peasant Karalyne as an unexpected protagonist, bringing a timid, introverted energy to the role. Her rival, Princess Raemynd, was played with relish by Callum Cook, revelling in the role of the scheming antagonist, constantly plotting in the face of obstacles. Of the actors, Cook seemed to be having the most fun with their time onstage,
Other characters included Todlair, played by James Galloway, a charming young peasant boy with a propeller hat and the magical ability to see through the fourth wall. The jovial Lewis Hayward exuded smarminess as Lord Mavriel, the King’s closest friend, as well as Wilma, the cheery Witch of the Woods. Kai Bryan took on Esky Esquire, responsible for protecting the royal family. The highlight of Bryan’s performance was their look of disgust when asked to remove a mangled rat from the royal dining hall.
The action-packed script was written by Madilyne Nelsen, who also directed the show alongside Sula McDonald. Narratively, the story largely hung together and held the attention of the audience. However, it focused almost exclusively on the journey of its protagonists, meaning that the minor characters felt as though they had more potential for development, particularly Todlair and Esky Esquire. The dialogue felt clunky in places, but was also occasionally witty, with one memorable scene where the suggestion of a visit to the witch in the woods turned into a comedy routine in the style of Abbot and Costello.
The staging was understandably limited by the small size of the space, which made the action feel cramped at times. Creative solutions were found through the use of a single chair, which represented all required furnishings. Lighting and sound were used well throughout, with snoring sounds accompanying sleeping characters and a running joke of a dramatic thunderclap after particularly ominous statements. Costumes were clearly low-budget, but were chosen with understanding of the characters and featured highly silly pieces such as a Christmas tree hat.
Nelsen has imagined a creative, if complicated, story which clearly aims to offer commentary on monarchy, power and education. For example, the character of the witch is used to comment on the persecution of educated people by authoritarian leaders. Through the play’s twist ending, which elicited gasps from the audience, the play weighs the relative importance of a leader doing what is best for themselves or for the country they rule over. It also seems to warn that an overly altruistic person is not cut out for politics.
Overall, the group deserves credit for their ambition and creativity. There is plenty to enjoy in this show, from its lively performances to its imaginative approach to fairytale tropes. Although its uneven dialogue, cramped staging and underdeveloped supporting characters prevent it from reaching its full potential, ‘A Queen’s Way’ has energy, imagination and a fascinating premise, which could evolve into something wonderful.
A Queen’s Way ran from 24th to 29th August at the Ivy Studio in Greenside George Street (The Royal Society of Edinburgh).
Image courtesy of Napier University Drama Society
Theatre Scotland 
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