Set in 1908 Southend-on-Sea, Princess Essex takes the audience on a whirlwind journey of race, class, and identity through the eyes of Joanne, a Black maid with dreams larger than the constraints of Edwardian society.
Written by and starring Anne Odeke, in her Globe playwriting debut, the play tells the true story of the first ever woman of colour to enter a UK beauty pageant. It proves a delicate but effective balance of comedy and hard-hitting themes. Direction from Robin Belfield ensures the humour never feels misplaced, and the play’s commitment to addressing these issues head-on while providing laughter is commendable. It’s a rare achievement to balance such heaviness with lightness, but the cast pull it off with grace.
At the heart of this production is Odeke’s captivating performance as Joanne, the maid-turned-aspiring-beauty-queen who dreams of breaking free from the expectations and limitations placed on her as a Black woman in society. From the beginning, Odeke holds the audience in the palm of her hand, not just with her quick wit and comedic charm, but with the authentic portrayal of a woman who dares to dream beyond her status. The audience’s relationship with Joanne becomes the pulse of the play, her hopes and frustrations drawing the audience in and giving them a view of the other characters through her perspective.
A standout performance among the cast is Lizzie Hopley, whose portrayal of Mrs. Bugle—alongside other ensemble roles—is captivating and leaves the audience in stitches. Her performance captures the naivety of the time with such precision that it becomes both amusing and uncomfortable. Mrs. Bugle’s casual, oblivious racism, reminds audiences of the often-unchallenged attitudes in the time setting. Hopley’s comedic timing is impeccable, providing moments of light-heartedness without detracting from the play’s core messages.
John Cummins, as the King, delivers another memorable performance, especially in his dynamic and playful song. His exaggerated energy and mannerisms make him a love-to-hate character, hilariously self-assured and arrogant. It’s precisely this charm that makes his eventual shift towards villainy so impactful.
The production benefits from its seamless integration of song and dance, which not only breaks up the scenes but also deepens the character development. The band, an incredible ensemble floating at the top of the stage, elevates the atmosphere, placing the piece firmly in its period setting. Meanwhile, the use of The Globe’s iconic pillars adds a sense of grandness, reminding the audience of the historical weight of both the venue and the play’s themes.
The play’s most striking moment comes in the form of a line: “Anyone can be a Queen, but a real Queen wears the crown, she doesn’t let the crown wear her.” This sentiment captures Joanne’s journey, and furthermore, the journey of every person seeking recognition in a world designed to exclude them.
Princess Essex merges comedy with social critique, leaving it feeling both fresh and necessary. Odeke creates a piece that will make you laugh, think, and feel—a true indication of the power of theatre to entertain and educate.
