Playwright, Moira Buffini’s Handbagged is the fly on the wall account of what might have been as Queen Elizabeth II and Margaret Thatcher came face-to-face in the privacy of Buckingham Palace. Billed as ‘a clever and fiercely funny comedy’, the premise of two of Britain’s most formidable women sparring over policy and principles is undeniably intriguing, though the execution doesn’t often live up to its potential.

A giant pound coin hangs above the stage as the Queen’s head prominently stares out into the audience. Katie Lias’ design is bold but soon becomes a tad one note- with Buffini’s script quickly settling into a pattern that suffers the same, repetitive, fate. An asset to this production, though, is its versatile cast. Younger and older versions of The Queen and Thatcher exist simultaneously on stage: The dual Thatchers- T (Morag Cross) and Mags (played superbly by Emma Ernest)-and the Queens- Q (Sarah Moyle) and Liz (Helen Reuben)- allow for some interesting contrasts, but the effect is undercut by the play’s overreliance on this device. The supporting actors, tasked with playing a variety of politicians, journalists, and public figures, inject energy and humour into the piece, showcasing their versatility and breaking the fourth wall. However, even their skill cannot completely rescue the script’s cyclical nature- and underwhelming comedic value.

While the debates between the Queen and Thatcher are witty and occasionally- cautiously- revelatory, the back-and-forth structure rarely evolves beyond an extended history lesson. The play leans heavily on expository, educational dialogue, often laboriously telling rather than showing. As a result, moments that could have been dramatic and impactful are softened by self-aware asides and repeated interruptions from the older versions of the characters. What starts as an engaging concept gradually feels like a drawn-out sketch rather than a fully fleshed-out drama- especially towards the end of an over-stuffed runtime.

Under Alex Thorpe’s direction, a particularly odd choice is the use of 1980s pop music to punctuate the scenes. Rather than adding to the atmosphere, these sung musical interludes feel intrusive and out of place, jarring against the otherwise restrained and dialogue-heavy storytelling. While the play does have comedic elements, these moments of musical nostalgia seem to be striving for levity in a way that clashes with the political weight of the subject matter. Instead of providing a clever contrast, their abstract nature disrupts the flow and pull the audience out of the narrative that has been delivered in painstaking detail.

For all of Handbagged’s moments of wit and intrigue, buoyed by a committed and talented cast, its repetitive structure and occasionally misguided stylistic choices mean it, somewhat ironically, falls short of its initial promises. While political history buffs may find enjoyment in its insights, I fear the popular vote may not swing in its favour this time around.

Handbagged plays at The Lowry until Saturday 22nd March. Further information and booking details can be found here.

Tickets received in exchange for an honest review.

Photography by Manuel Harlan.