The King's Speech Programme by courttheatrenz

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Jason Hodzelmans

Bertie (King George VI)

James Kupa

Winston Churchill

Matt Hudson

King George V and Baldwin/Chamberlain

Benjamin Kilby-Henson Director

Cast

Cameron Douglas

Lionel Logue

Cameron Clayton Cosmo Lang

Emma Newborn Myrtle Logue

Production

Daniel Williams Set Designer

Rachel Marlow Lighting Designer

Jo Bunce Stage Manager

Amy Straker Elizabeth

Olly Humphries

David (King Edward VIII)

Hillary Moulder Wallis Simpson

Pam Jones Costume Designer

Matt Short Sound Composer & Designer

Giles Tanner/Geoff Nunn Operators

Tika Ormond Speech Therapist

Diana Lines Assistant Stage Manager

Cherie Moore Voice Coach

Acknowledgements

Zoe Buckland (Wigs, Hair & Makeup), Nigel Kerr, Richard van den Berg (Set Construction), Shane Kennington from Flight RC (Model Planes), Maryanne Smyth, Pauline Laws, Pam Jones (Costume Makers), Rose Salmon (Textile Artist), Canterbury Repertory Theatre, Emily Thomas (Replica Medals)

Bruce Blake and Highland Etc. Ltd, Mike Jones, Tina Thomas Costumes, Ted Eason (Photography & Videography), Charlie Rose of Charlie Rose Creative (Stage Photography), Sarah Rowan (Video Editing), and Annabelle McClure of My Glam Booth. Proudly printed by Caxton.

Running Time: 130 minutes including a 20 minute interval.

The King’s Speech staged at The Court Theatre 20 September - 25 October 2025

By special arrangement with Music Theatre International (Australasia)

Richard Aindow Chief Executive

Nau mai, haere mai. On behalf of everyone here at The Court Theatre, it is my pleasure to welcome you to The King’s Speech. I suspect in common with most people, I became familiar with this fascinating story through the Academy Award-winning film, which was a surprise box office hit when it came out in 2010, claiming four Oscars including Best Picture. Although I enjoyed the film and the performances at the time, what I have learned more recently is that The King’s Speech was originally conceived for the stage before the screen. This knowledge has increased my sense of anticipation for our production still further.

One thing that has been apparent since the first day of rehearsals is the aura of positive collective energy that has been radiating out of the Yvette Bromley Room, the main rehearsal room in our new home. Led by director Benjamin Kilby-Henson, we are excited and proud to support this talented cast and creative team, and know the results of that support will be on full display in today’s performance.

We would like to thank and acknowledge our core partners Creative New Zealand and Christchurch City Council, season sponsor Ryman Healthcare, and show sponsor Spark.

Thank you for joining us for this performance and enjoy the show.

Alison Walls Artistic Director

The King’s Speech is a fascinating historical window and a moving reflection on the entanglement of political and global shifts and the individual personal lives at their epicentre and beyond. The personal is political and vice versa. The story of King George VI (Bertie) and Lionel Logue is a story of friendship and vulnerability, and there is deep sentiment there, but the global stakes of the personal journey are also ever present. This is an increasingly mediatised world, on the brink of world war, with the rise of Fascism as a real and immediate threat.

David Seidler’s script is smart, theatrical, and heartfelt. It is a superb material for finely crafted performances and striking design. Director, Benjamin Kilby-Henson, with designers Daniel Williams, Pam Jones, Rachel Marlow, and Matt Short have captured the detailed personal world and wider historic frame with clarity, detail, and inventiveness. The impeccable cast have delved deep into their characters with sensitivity and artistry.

This is storytelling at its finest, executed with care and expertise. We welcome you and we thank you for your essential support of live theatre.

Enjoy The King’s Speech!

From the Director Benjamin Kilby-Henson

The King’s Speech is a much-loved film that has inspired and touched so many. A fascinating true story, that lifts the lid on Royal life to discover they were (are) far from infallible. David Seidler, himself having lived with a life-long speech impediment, was inspired by this turbulent and unique slice of history; the ‘Year of Three Kings’ as it became known. And Bertie’s place within it.

Although the film was to win Seidler an Oscar (then aged 73) he had originally intended the work to be a play, and so the leap from celluloid to stage feels surprisingly seamless. First presented in the UK in 2012, the adaptation was penned by Seidler himself (then aged 75), and is buoyant, sumptuous and heartening. Sadly, Seidler was to pass last year - doing what he loved most - fly-fishing right here in New Zealand. As such, it is an honour to bring his sparkling words, and the voices from the past, to life here in Ōtautahi Christchurch.

Fundamentally, The King’s Speech is a bullying story. It’s about overcoming fear; the power of our voice and the refusal to let

the bullies win. This bullying is expressed in micro - inside Bertie’s home and childhood. From the torture from his nanny, to the ribbing from his brother; the overbearing rigidity of his father to the entrapment of Royal life. ‘The gilded cage’ as Duchess Elizabeth describes it.

This bully is then echoed in the great big world - the rise of Hitler and his fascist regime. A true orator who was able to sway thousands with his impassioned, anthemic speechgiving style. He wouldn’t have known it then, but Bertie endeavoured to find his voice just when Britain, and indeed, the world, would need it most.

And how are bullies overcome? Through tenacity, bravery, self-reflection and - as we find in the central relationship of Bertie and Lionel - the sheer power of friendship. Enlivening reminders in a world that once again finds itself in turmoil today.

Strength is found in friendship.

David Seidler

Playwright

A Londoner by birth, David was sent to the USA as a young child during WWII, to which he attributed to his developing a stammer. George VI, the reluctant stuttering King, became a boyhood hero, role model, and many years later the inspiration for his stage play, The King’s Speech. The 2010 film version starring Colin Firth, Geoffrey Rush, and Helena Bonham Carter, went on to win four Academy Awards including Best Picture, Best Director, Best Actor, and for which David was awarded an Oscar for Best Original Screenplay, two BAFTA’s, The Humanitas Prize and numerous other awards. His stage version has toured England and the United States, played the West End, and has been produced around the world in nine foreign languages, and counting.

Seidler’s writing career commenced with dubbing translation scripts for Godzilla The Monster. In Hollywood, he has over twenty screenwriting credits to his name including:

Tucker, The Man and His Dream, directed by Francis Ford Coppola. David was nominated for Writing Achievement by the WGA three times (winning for Onassis, The Richest Man In The World).

David lectured around the world, in locations including Milan, Rome, Porto, A.F.I. Los Angeles, Sundance, Dreamago Institute in Switzerland, and Laboratorio Novas Historias in Sao Paulo, Brazil. He lived for several years in Fiji, where he was Political Advisor to Chief Minister Ratu Sir Kamisese Mara. He also resided in New Zealand for eight years. His son Marc, is a film and television editor. His daughter, Maya, is a documentary producer.

David Seidler passed away in 2024 while on a flyfishing trip to his beloved New Zealand.

David’s biography was provided by MTI Australasia.

Synopsis Contains spoilers

The play opens with Bertie already struggling under the weight of his stammer. As the son of King George V, and younger brother to the charismatic David (later Edward VIII), Bertie is expected to appear in public, give speeches, and represent the monarchy with authority. Instead, his stutter leaves him humiliated and fearful of the microphone; a new and unavoidable tool of modern kingship.

After several painful public failures, Bertie’s wife Elizabeth seeks help from Lionel Logue, an unorthodox Australian speech therapist living in London. Their first encounters are awkward and confrontational: Logue insists on informality, treating Bertie not as a royal but as a patient in need of honesty, hard work, and self-belief. Despite his initial resistance, Bertie returns, and over time the two men develop an extraordinary relationship that balances frustration, humour, and deep trust.

Meanwhile, the wider political landscape looms. King George V dies, and David ascends the throne as King Edward VIII. His controversial determination to marry American divorcee Wallis Simpson plunges the monarchy into crisis. As government and church leaders

manoeuvre behind the scenes, King Edward VIII abdicates, forcing Bertie into a role he never sought: King of the United Kingdom and British Commonwealth.

Now King George VI, Bertie, must not only wear the crown but also find his voice at a critical moment in history. Europe edges closer to war, and the new King is expected to unite and reassure his people through the medium he fears most: radio. With Lionel’s guidance, Bertie prepares for the most important broadcast of his life: declaring Britain’s entry into war with Germany.

The climax of the play takes place in a makeshift broadcasting studio in Buckingham Palace. Supported by Elizabeth and Churchill, Lionel gives Bertie last minute advice to speak to the people as if they are a friend. Lionel and Bertie shake hands and Bertie reciprocates by calling him “my friend”.

Although he hesitates on occasion, Bertie is utterly magnificent.

The rest, is history.

Jason Hodzelmans Bertie (King George VI)

Jason has worked extensively in the performing arts industry as an actor, voice artist, casting associate, theatre producer, and studio floor manager.

Originally from Ashburton, Jason has spent most of his career in Auckland pursuing a variety of creative ventures. He is now thrilled to be back in Canterbury, calling Ōhinehou (Lyttelton) home.

The King’s Speech is Jason’s debut Court Theatre production. His other theatre highlights include Titus (Fractious Tash), Free Load (Theatre of Love), and Jacques Brel (Unitec).

Jason’s television credits include Westside (Seasons 2-5), Consent, and Field Punishment No.1. His film credits include Bellbird and Everything We Loved.

Jason is a graduate of Unitec (Bachelor of Performing and Screen Arts).

Cameron

Douglas Lionel Logue

Cameron, a graduate of the National Academy of Singing and Dramatic Art (NASDA), made his professional theatre debut at The Court Theatre in My Fair Lady. He has since performed in numerous productions, most recently A Streetcar Named Desire, Jersey Boys, Once, The Girl on the Train, Flagons and Foxtrots, RENT, Something Rotten!, and A Doll’s House.

His other theatre highlights include Red, Avenue Q (Fortune Theatre), Poor Boy, Oliver, The 25th Annual Putnam County Spelling Bee (Auckland Theatre Company), and Assassins (Silo Theatre Company). He was also an original cast member of That Bloody Woman.

Cameron’s television credits include Outrageous Fortune, Legend of the Seeker, and One Night Only.

Amy Straker Elizabeth

Amy Straker is an actor, theatre maker, musician and performance coach. After graduating from NASDA in 2005, Amy secured The Court Theatre Internship for a full year. Since then, she has performed in over 60 productions throughout Aotearoa. Highlights include Doubt, A Streetcar Named Desire, That Bloody Woman, In the Next Room, or the Vibrator Play, Amadeus, Cabaret, Glorious, Ache, and Once - The Musical.

Amy is a co-creator of Cubbin Theatre Company, making original works for the very young. Cubbin is currently the company in Residence at The Arts Centre Te Matatiki Toi Ora. Amy writes and performs her own music under the name Amy Grace and with The Swan Sisters. She also does sound design and composition for theatre.

Amy’s performance coach experience extends across theatre and film as well as teaching acting at The Court Theatre.

James Kupa

Winston Churchill

James (Ngāti Kahungunu) is a graduate of Toi Whakaari: New Zealand Drama School (Bachelor of Performing Arts).

His Court Theatre credits include The Perfumed Garden, Frankenstein, The Girl on the Train, Dance Nation, Agatha Christie’s Murder on the Orient Express, The End of the Golden Weather, and Twelfth Night.

His other theatre credits include Betty’s Summer Vacation, Twelfth Night (Toi Whakaari), A Streetcar Named Desire (Circa Theatre), Strange Resting Places (Taki Rua), Penalties, Pints and Pirouettes (Centrepoint Theatre), and Dungeons & Comedians (Little Andromeda).

James’ television credits include Dark City: The Cleaner, The Brokenwood Mysteries, Ka Pai Living, Agent Anna, and Nothing Trivial.

Cameron Clayton Cosmo Lang

Cameron studied at the National Academy of Singing and Dramatic Arts (Bachelor of Performing Arts).

His previous credits include Cats (Showbiz & AMICII Productions), RENT (AMICII Productions), The Witches of Eastwick (Riccarton Players), Shrek the Musical (Showcase Entertainment), Flagons and Foxtrots, RENT, Cinderella, Something Rotten!, Strictly Ballroom The Musical, and Twelfth Night (The Court Theatre).

Cameron’s television credits include Sextortion (2020) and David Lomas Investigates (2021).

Cameron has also performed in country music throughout NZ, Australia, and USA, and was awarded Gore Gold Guitar Award Overall Winner (2004), NZ Entertainer of the Year (2005), and Trans-Tasman Entertainer of the Year (2001).

Olly Humphries David (King Edward VIII)

Olly is a 2014 graduate of the National Academy of Singing and Dramatic Arts (Bachelor of Performing Arts).

His previous Court Theatre credits include Strictly Ballroom the Musical, Something Rotten!, Chicago, Titus Andronicus, Legally Blonde the Musical, and Mary Poppins. His other theatre credits include Kinky Boots (Showbiz Christchurch and G&T Productions), Shrek the Musical (Showcase Entertainment Group), and Beauty and the Beast the Pantomime (GMG Productions).

Olly is a member of Equity New Zealand, and a proudly trained secondary school teacher. In 2024 he started his new role at NASDA (ARA) as a dance tutor, and loves passing on his passion for musical theatre to the next generation of performers.

Matt Hudson King George V and Baldwin/Chamberlain

Matt is a graduate of the National Academy of Singing and Dramatic Art (NASDABachelor of Performing Arts).

His previous Court Theatre credits include Flagons and Foxtrots, The Producers, Skin Tight, Arsenic and Old Lace, La Cage Aux Folles, The Perfumed Garden, A Shortcut to Happiness, The Curious Incident of the Dog in the NightTime, and In the Next Room, or the vibrator play.

His other theatre credits include Jane Eyre, I Love You, You’re Perfect, Now Change (Fortune Theatre), Ladies Night (On Q Productions), and A Man for All Seasons (Lighthouse Productions).

Emma Newborn Myrtle Logue

Emma Newborn is best known as one half of the acclaimed comedy duo The Bitches’ Box. Together, they’ve turned woolsheds into sell-out theatres, touring extensively across Aotearoa, Australia, and the UK.

A recent arrival to Ōtautahi, she appears regularly with The Court Jesters and the Feminist Clown Posse.

This is Emma’s Court Theatre debut. Other theatre highlights include Wild Bees (dir. Stuart Devinie), Close City (dir. Egle Simkeviciute), and solo shows Silk (dir. Danielle Cormack), Coral (dir. Trygve Wakenshaw), and Wobbly (dir. Tessa Waters). On screen, she’s appeared most recently in Shortland Street, Double Parked, and One of Us is Lying. Her first feature film, Sons of a Bitch, is currently in production.

Hillary Moulder Wallis Simpson

Hillary has performed in productions such as Strictly Ballroom The Musical, Chicago, Jesus Christ Superstar, Jersey Boys, Time Machine, Les Liaisons Dangereuses, A Streetcar Named Desire, A Christmas Carol, and Escape from Haunted House.

Additionally, she showcased her choreographic talent in Ladies Night, Once, Flagons and Foxtrots, Next to Normal, Matilda The Musical, That Bloody Woman, Mamma Mia!, Fun Home, and directed the enchanting shows Sense and Sensibility, A Flight Before Christmas, Every Brilliant Thing, and Mamma Mia!

She is a proud member of Equity New Zealand and is grateful to be a part of this wonderful play.

Benjamin Kilby-Henson Director

Benjamin is one of New Zealand’s busiest theatre directors, forging a diverse career, spanning form, scale and medium including original works, scripted premieres and opera. Ben trained at the Mountview Academy of Theatre Arts, London.

This is Benjamin’s fourth production for The Court Theatre, including great success with Something Rotten! and Strictly Ballroom The Musical. Benjamin’s production of Romeo & Juliet for Auckland Theatre Company earlier this year was described in The New Zealand Herald as “Some of the most engaging, thoughtprovoking theatre you are ever likely to see.”

Ben is currently the Artistic Manager of The Actors’ Program, one of New Zealand’s leading acting conservatoires as well as Associate Artist for Auckland Theatre Company.

Daniel Williams Set Designer

Daniel graduated with a degree in Performance Design from Massey University and Toi Whakaari: New Zealand Drama School in 2006. His design credits include work for Circa Theatre, Centrepoint Theatre, Fortune Theatre, Downstage Theatre, Silo Theatre, Massive Company, and Auckland Theatre Company.

For The Court Theatre, Daniel has designed Little Shop of Horrors, Once, The Girl on the Train, Something Rotten!, and Strictly Ballroom The Musical. Most recently, he designed Romeo & Juliet for ATC, with The New Zealand Herald saying, “Everything in this production is gorgeous to look at.”

This month, Daniel opens both The King’s Speech here at The Court Theatre, and Silo’s Mother Play in Auckland. Daniel makes his theatre directing debut for Silo with D.R.A.G (Dressed Resembling a God) later this year. You can check out more of his work at danielwilliamsdesign.com

Pam Jones Costume Designer

Pam’s costume journey has traversed 26 years, from Costume Department Manager at The Court Theatre, where she was involved in the design and construction of around 100 productions; to her independent company The Costumery, producing more costumes for The Court Theatre, plus touring shows The Buddy Holly Story, South Pacific, HMS Pinafore, Grease, The Sound of Music, Saturday Night Fever, Social Climbers, Cats, and most recently the NZ Tour of The Best Exotic Marigold Hotel.

Other costuming credits include New Zealand Opera, Canterbury Opera, U.C. Platform Opera, and Christchurch Arts Festival. Her movie credits include The Hobbit and We Were Dangerous.

Pam has a special passion for period drama costume.

Rachel Marlow Lighting Designer

Rachel Marlow is a production designer and co-founder (with Bradley Gledhill) of design company Filament Eleven 11. FE11 works collaboratively to create dynamic production designs (lighting/set/video) for live events and public experiences, putting design and technology at the centre of storytelling in unique and inventive ways.

Rachel’s previous work at The Court Theatre includes production design (set and lighting) for Next to Normal and lighting design for Yes Yes Yes. Other work in Ōtautahi Christchurch includes production design for New Zealand Opera’s The Monster in the Maze and The Strangest of Angels.

Filament Eleven 11 is drawn to boundary-pushing work led by inspiring creatives.

Matt Short Sound Composer and Designer

From the bustling streets of London to the vibrant stages of New Zealand, Matt’s career has spanned the worlds of media and entertainment. Beginning as a marketing rep for a major record label, he moved into broadcast television, becoming a senior camera operator for British Sky Broadcasting. Mastering the Radamec and Stanton crane systems, Matt gained invaluable experience in live TV production in the studio and on international assignments. Returning to New Zealand, Matt worked with TVNZ, co-filming, recording sound, and composing music for an adventure guide series, before making his mark as a composer and sound designer.

Matt brings his extensive technical expertise and creative vision as a Technician and Sound Composer/ Designer, ready to captivate audiences with his work.

In this grave hour, perhaps the most fateful in our history, I send to every household of my peoples, both at home and overseas, this message, spoken with the same depth of feeling for each one of you as if I were able to cross your threshold and speak to you myself.

For the second time in the lives of most of us, we are at war.

Over and over again, we have tried to find a peaceful way out of the differences between ourselves and those who are now our enemies; but it has been in vain.

We have been forced into a conflict, for we are called, with our allies, to meet the challenge of a principle which, if it were to prevail, would be fatal to any civilized order in the world.

It is a principle which permits a state, in the selfish pursuit of power, to disregard its treaties and its solemn pledges, which sanctions the use of force or threat of force against the sovereignty and independence of other states.

Such a principle, stripped of all disguise, is surely the mere primitive doctrine that might is right, and if this principle were established through the world, the freedom of our own country and of the whole British Commonwealth of nations would be in danger.

But far more than this, the peoples of the world would be kept in bondage of fear, and all hopes of settled peace and of the security, of justice and liberty, among nations, would be ended.

This is the ultimate issue which confronts us. For the sake of all that we ourselves hold dear, and of the world order and peace, it is unthinkable that we should refuse to meet the challenge.

It is to this high purpose that I now call my people at home, and my peoples across the seas, who will make our cause their own.

I ask them to stand calm and firm and united in this time of trial.

The task will be hard. There may be dark days ahead, and war can no longer be confined to the battlefield, but we can only do the right as we see the right, and reverently commit our cause to God. If one and all we keep resolutely faithful to it, ready for whatever service or sacrifice it may demand, then with God’s help, we shall prevail.

May He bless and keep us all.

King George VI, 3 September 1939

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From the Set Designer

Daniel Williams

The King’s Speech is such a well loved film, set in a very unique slice of history and sweeping though locations from Buckingham Palace, Balmoral Castle and, of course, Lionel’s Harley Street office. The visuals in the film have become part of its enduring charm, so the challenge really was “how to bring this world to life?”.

Well, of course there is the world of the Royals. A world of grandeur, huge rooms filled with decadence, history and gold. But the action of the play also occurs just after WW1, as The Great Depression took its grip on Europe. The average person was a world away from the excess of Buckingham Palace; out of work, queueing for bread, making ends meet. This is the story of two men, from both sides of this shilling, forging an unlikely partnership. As such, both worlds needed to be present throughout.

Bertie says in the script: “Sometimes, when I ride through the streets and see a ‘bloke’, the common man, I’m struck by how little I know of his life, and how little he knows of mine.” But this changes dramatically throughout the play, as Bertie relaxes his Royal etiquette and truly enters Lionel’s world to discover he is far from the common man, but an exceptional one. One that can help.

In the design you see on stage, those two worlds are kept alive in the attic of Bertie’s mind. A single space, at one side decrepit, the other regal, merged together in a story of two men brought together through circumstance, resilience and, above all, friendship.

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From the Costume Designer

Pam Jones

It is fair to say that costuming period drama is a passion of mine, so when I was offered the opportunity to design The King’s Speech for The Court Theatre, I was excited to accept the challenge.

While the costumes are for a specific period in time, the actual drama that played out at that time is so well recorded in film and photographs that the manner of the characters’ dress is etched permanently in the public domain. Hence the challenge was to portray the main players in a way that would be sympathetic to the audience’s expectations.

Sourcing specific items has required calling on many contacts and the skills of artisans from far and wide. Fortunately, The Court Theatre has an extensive and diverse stock of costumes and original clothing in storage, which I have been able to use as a resource to repurpose, alter, or use as reference to create the authenticity that I sought.

Despite this, there were of course some characters who required fully constructed garments, and these were produced by our small team of skilled creatives: costume makers, Pauline Laws and Maryanne Smyth; replica medals, Emily Thomas; and wigs, hair, and makeup, Zoe Buckland. I would also like to thank Daniella Salazar and Findlay Currie for their support during this costume build. All of the materials used were found in The Court Theatre’s own stocks. (Never throw anything away!)

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Tika Ormond Speech Language Therapist

Stuttering, also known as stammering, is a speech disorder characterised by disruptions in the flow of speech, including repetitions of sounds, syllables, or words, as well as prolonged sounds and involuntary pauses/blocks. It usually starts in early childhood, around ages 2-6 years, affecting approximately 1 in 100 children. The severity of stuttering can vary from mild to severe, but even mild stuttering can have huge effects on someone’s ability to communicate and their perception of self.

The effects of stuttering can be huge, but also very individualised. On a personal level, individuals who stutter often experience feelings of frustration, embarrassment, and anxiety. The fear of speaking in public or engaging in conversations can lead to avoidance behaviors, limiting their social interactions and opportunities. People have been known to change their names, leave jobs, change what they order to eat or drink when out, or go to a different train station as they can’t say the name of the one they want. Many people who stutter scan ahead in their head to preplan what they are going to say in order to avoid stuttering. This can lead to less active listening and also to odd choices of words if they are being changed by the speaker. This can lead to them being thought of as less articulate in their language and thinking, which reinforces the opinion of lower intelligence.

Stuttering can have broader implications in educational and work settings. Students who stutter may struggle to participate in classroom discussions or oral presentations, potentially affecting their academic performance or even choices of what to study at school, and therefore minimising their choice of occupation going forward. Similarly, adults may encounter challenges during job interviews or in professional environments, where effective communication is crucial. This can increase feelings of stress and anxiety, and it is known that mental health issues are higher in this population moving into adulthood.

Social stigma and misconceptions surrounding stuttering can exacerbate these challenges. Many people hold unfounded beliefs about stuttering, viewing it as a sign of nervousness or lack of intelligence, which can lead to discrimination and misunderstanding. Education of GPs and others is essential in combating these stereotypes, leading to early referral for therapy and fostering a more inclusive environment for those who stutter.

Acquired stuttering after a stroke, brain injury, or with Parkinson’s disease is a different disorder compared to developmental stuttering which starts in childhood.

In conclusion, stuttering is a complex speech disorder that affects not only communication but also the emotional and social well-being of individuals. Support, understanding, and targeted therapy can help those who stutter manage their condition and improve their quality of life.

Working with the cast of The King’s Speech, my focus has been to ensure that there is an authentic portrait of someone who stutters and not a caricature of what the public considers to be one.