Broadcast: BBC Home Service 7th January, 1967 – (Repeated: 27th September, 1970).
Character: The Prince Regent
Terence Rattigan’s The Sleeping Prince stands as one of the playwright’s most accomplished comedies, offering a sophisticated synthesis of romance, political intrigue, and sparkling wit. Premiering in 1953, the work exemplifies Rattigan’s ability to merge light entertainment with astute observations regarding class, power, and human vulnerability. While it is frequently remembered today as the source material for the 1957 film The Prince and the Showgirl, starring Laurence Olivier and Marilyn Monroe, the original stage play remains a highly intelligent and engaging work in its own right.
Set in London in 1911 during the coronation celebrations for King George V, the narrative concerns the arrival of the Royal Family of Carpathia, a fictional Balkan kingdom. While the political stability of the nation remains precarious, the widowed Prince Regent (Peter Wyngarde) finds his meticulously ordered existence unexpectedly disrupted by a young American chorus girl, Elsie Marina. This encounter precipitates a compelling clash of personalities, cultures, and social expectations.
Central to the play is the Prince Regent, one of Rattigan’s most compelling creations. Superficially, he embodies aristocratic dignity; cultured, intelligent, and impeccably mannered, he possesses the self-assurance of a man born to command. However, beneath this imposing exterior lies a solitary and somewhat melancholy figure, constrained by tradition and burdened by the exigencies of his position. Rattigan excels in revealing the humanity beneath the royal façade, allowing the audience to discern both the strengths and weaknesses of the character.
The Prince’s encounter with Elsie Marina provides the play’s primary dramatic catalyst. Invited to a royal gathering largely due to her beauty, Elsie initially appears to be little more than an attractive showgirl. However, Rattigan swiftly overturns this assumption. Elsie proves to be warm-hearted, fearless, and refreshingly candid. Unlike those who habitually flatter and defer to the Prince, she speaks her mind and refuses to be intimidated by rank or privilege.
The contrast between these two protagonists generates much of the play’s comedy. Elsie’s informal American demeanour repeatedly collides with the rigid etiquette of the royal household. Some of the most effective moments arise from her inability, or perhaps unwillingness, to conform to aristocratic expectations. Nevertheless, the humour does not descend into farce; rather, it emerges organically from the characters and their divergent perspectives on life.
What distinguishes The Sleeping Prince from conventional romantic comedies is the intelligence with which Rattigan develops the relationship between his leads. Their attraction transcends physical appearance; the Prince is fascinated by Elsie’s spontaneity and honesty – qualities largely absent from his controlled environment. Conversely, Elsie gradually recognises the loneliness and emotional restraint that accompany privilege and power.
As the narrative progresses, a genuine affection develops between the two. Rattigan handles this relationship with considerable sensitivity, avoiding sentimentality while ensuring the emotional stakes remain convincing. The audience becomes invested in their connection because it feels authentic rather than contrived.
The political subplot adds further depth to the narrative. The Kingdom of Carpathia faces uncertainty regarding its future leadership, and tensions simmer beneath the surface of the royal visit. Although the political elements are treated with a light touch, they serve a vital dramatic function, reminding the audience that the Prince’s personal desires are inextricably linked to his public responsibilities.
Rattigan was occasionally criticised during his lifetime for writing elegant, traditional dramas while his contemporaries pursued more experimental forms. Yet The Sleeping Prince demonstrates the considerable skill required to execute sophisticated comedy. The dialogue is consistently polished, witty, and economical; conversations flow effortlessly, revealing character while advancing the plot. Every line appears carefully crafted without seeming artificial.
One of the playwright’s particular strengths is his understanding of social behaviour. Few writers have been better at depicting the subtle ways in which individuals conceal their true feelings behind manners and conventions. Throughout the play, characters often say one thing while feeling another, creating layers of meaning beneath even the lightest exchanges.
The supporting characters are similarly well-drawn. Members of the Carpathian royal entourage provide a rich source of humour, particularly in their reactions to Elsie’s unconventional behaviour. However, they are more than mere caricatures; each contributes to the atmosphere of a world governed by protocol, hierarchy, and tradition.
The title itself is highly suggestive. The “sleeping prince” is not literally asleep, but emotionally dormant. Years of adherence to duty have distanced him from genuine human connection. Elsie’s arrival awakens aspects of his personality that have long been suppressed. In this respect, the play resembles a modern fairy tale, though one firmly grounded in human reality rather than fantasy.
Thematically, The Sleeping Prince examines the tension between individual autonomy and social obligation. Although the Prince possesses significant power and privilege, he remains constrained by the expectations of his station. Conversely, Elsie lacks his social status but enjoys a personal freedom that the Prince envies. Their relationship compels both characters to evaluate the true priorities of their lives.
The play’s treatment of social class is another notable element. Rather than launching a direct assault on the class system, Rattigan subtly exposes its absurdities. Elsie’s sincerity and pragmatism frequently prove more valuable than aristocratic breeding or diplomatic expertise, suggesting that personal character is of greater importance than social position.
The humour of the play remains remarkably fresh. While certain references are rooted in the Edwardian era, the underlying comedy of cultural clash and social awkwardness continues to resonate with contemporary audiences. Rattigan’s wit is subtle rather than flamboyant, deriving its strength from character and situation rather than superficial punchlines.
Perhaps the most impressive achievement of The Sleeping Prince is its balance. It is romantic without becoming sentimental, humorous without becoming frivolous, and thoughtful without becoming overly didactic. Rattigan succeeds in entertaining his audience while offering poignant insights into loneliness, responsibility, and the longing for genuine connection.
The final scenes are particularly effective. Rattigan avoids simplistic resolutions, acknowledging the practical realities that separate his protagonists while preserving the emotional integrity of their relationship. The conclusion possesses a bittersweet quality that lingers long after the curtain falls.
Ultimately, The Sleeping Prince serves as a quintessential example of Terence Rattigan’s skill. Characterised by wit, elegance, and emotional intelligence, the play combines memorable characters with expertly crafted dialogue and a touching central romance. Beneath its polished surface lies a perceptive examination of power, duty, and the transformative influence of one individual upon another. More than seventy years after its premiere, the play remains a charming, sophisticated, and thoroughly rewarding theatrical experience, confirming Rattigan’s position among the finest dramatists of the twentieth century.
