While it’s something every theatre company strives to achieve, the perfect combination of an emotionally-charged script, a phenomenal cast, outstanding direction, and remarkable set and costume design is extremely rare.
Theatre Orangeville audiences should count themselves lucky for witnessing this unique feat in Queen Milli of Galt.
Add to the mix the play’s charming and mysterious allure – it may or may not be based on a true story – and it becomes a truly transcendent theatrical experience.
The play centres on Millicent “Milli” Milroy (played by Heidi Lynch), whose story will be familiar to those from the Cambridge and Rockwood areas, where the retired teacher once lived.
Around the time of the death of Prince Edward, the Duke of Windsor, in 1972, Milroy commissioned a headstone naming herself as his wife. Her tale then garnered national attention, with individuals aligning themselves on either side of a truth-versus-fiction debate.
Queen Milli of Galt details an ongoing affair shared between Milroy and Edward (played by Adrian Shepherd) in the early 1920s, which began after a chance meeting between the pair during the prince’s tour of Canada in 1919.
At first both are reluctant to admit their fondness for one another; Milli is still mourning the loss of her man in the First World War and Edward likely fears his newfound love will not be accepted by his father, King George.
When the latter proves to be true, Edward must choose between Milli and the crown (and everything it entails), while Milli struggles with the choice to embrace her new love or forsake it for the greater destiny of the prince.
Rounding out the fabulous cast are Jefferson Mappin of Erin as Godfrey, the prince’s servant; Mag Ruffman as Mrs. Milroy; and Lauren Toffan as Mona, Milli’s best friend.
Mappin is great as Godfrey, who provides a conduit between the young, enigmatic prince and the rigid structure of the monarchy – and thus seems conflicted between his roles as royal servant and friend of the prince.
Ruffman is hilarious as Milli’s mother, providing much of the play’s comic relief. Ruffman excels in portraying both sides of Mrs. Milroy – both her unwavering admiration of the prince and her strong religious beliefs.
Toffan is superb as Mona, whose inclusion is vital to establish the relationship between Milli and the prince and to explain Edward’s penchant for the unassuming and hard to get (Milli), over obvious advances and a frolicsome nature (Mona).
Of course the stars of the show are Lynch and Shepherd, who have remarkable chemistry together. So enthralling are their performances that audiences may get lost in the story and temporarily forget they are actually watching a performance.
Lynch is the emotional anchor of the production, adeptly relaying the tremendous sense of both love and loss that embody the character of Milli. And Shepherd is equally as malleable, mastering both the pompous and endearing sides of his character.
The cast seems to have received great direction from David Nairn and the costume design by Alex Amini is perfect.
Beckie Morris should also receive recognition for her fabulous yet minimalist set that makes ideal use of several props and periaktos, revolving triangular prisms with different scenes painted on each of its three faces. The centuries-old devices are the perfect complement to the story.
Some may criticize the story for a perceived lack of ingenuity; after all this type of story – a noble or elite character falling for an otherwise unremarkable member of a lower class – is certainly nothing new.
But Gary Kirkham’s script offers a lot that similar stories do not, including an emotional back story and remarkable character development that make the person of lower pedigree arguably the more interesting of the two main characters.
Others may also point out the story is mostly a work of fiction. Milroy most certainly existed, she did erect the tombstone identifying herself as Edward’s wife and she may have even met the prince, but many historians, including the Advertiser’s own Stephen Thorning, have pointed out there is little to no evidence that the pair ever shared an affair at all, much less a marriage.
However, audience members won’t – or at least shouldn’t – get too hung up on whether or not this is a true story.
As promotional material for the play suggests, “It doesn’t matter when an affair of the heart can’t be forgotten.”
Queen Milli of Galt plays six shows a week until May 25. For tickets call 519-942-3423 or 1-800-424-1295 or visit www.theatreorangeville.ca.
