'Springwood' review — this timely play peeks behind the scenes as the King meets the American President

Read our review of Springwood, starring Andrew Havill and Robert Lindsay, now in performances at the Hampstead Theatre to 25 July.

Summary

• Richard Nelson's play Springwood comes to Hampstead Theatre
• The timely piece revisits a crucial meeting between King George VI and Franklin D. Roosevelt
• Andrew Havill and Robert Lindsay are excellent as the respective leaders
• Rebecca Night and Jemma Redgrave give strong support as their spouses

Springwood is the fourth play by prolific American writer Richard Nelson to be staged at Hampstead Theatre and, in terms of premise, it's surely the simplest of the lot. It centres on a meeting held in June 1939 between King George VI and Franklin D. Roosevelt, together with their wives, at the titular presidential country retreat in Hyde Park, New York.

Ostensibly it's a tale of an historically significant example of soft power, at a moment when Britain was under existential threat and the American public was unconvinced of the merits of coming to our aid (again). But really it's about a friendship forged between two men who find commonality in being figures whose private impairments contrast with their lofty statuses.

As the central pair, Andrew Havill and Robert Lindsay capture their subjects' quirks, not just the speech impediment and polio-induced paralysis for which they were respectively known, but also the quiet charm and fulsome charisma. Despite being seemingly different characters – the shy, awkward King and the womanising, paternalistic President (sounds rather familiar) – they soon discover a shared love of stamps, whisky, and late night heart-to-hearts.

The 'opposites attract' mantra continues with their spouses, with Rebecca Night's buttoned-up Queen Elizabeth, who spends much of her visit fretting about the symbolism of hot dogs, finding both horror and fascination in Jemma Redgrave's free-spirited Eleanor, who's willing to turn a blind eye to her husband's dalliance with 'governess' Daisy (Rachel Pickup) in return for her own. There's also good support from Eileen Nicholas as Eleanor's all-knowing mother, and John Mackay as a too-knowing royal attendant.

Originally due to be directed by Stanley Tucci, who dropped out due to scheduling conflicts, instead Nelson himself takes the helm, and it's a solid enough production – on Tom Piper's sparely designed, thrust stage – even if, at times, notably the early exchanges between the Roosevelt clan, it feels as staid as the manners of the King and Queen. A little more pace and panache wouldn't go amiss, particularly during the lengthy transitions during which large items of furniture are wheeled on and off as foreboding music plays (the sound designer is John Leonard).

Yet this is certainly an apposite moment to be examining a foundational moment for the special relationship, when it once again feels under strain. Nelson has a knack for timely historical exhumation, and though this isn't the most revelatory example – we don't really glean much about Roosevelt beyond occasional reflections on his childhood, and the reason the public ignore his paralysis – it's certainly an interesting behind-the-scenes look at both the machinations of state visits, and a particular moment when the future really did feel in flux.

Springwood is at the Hampstead Theatre to 25 July. Book Springwood tickets on LondonTheatre.co.uk

Photo credit: Springwood (Photos by Manuel Harlan)