• The play premiered on 19 September 2015 at Shakespeare’s Globe, London
• It had its West End premiere at the Apollo Theatre London,  on 12 February 2016
• It won Best Comedy at the 2016 Olivier Awards
• Prior to its success, it had been through a workshop process.

The play celebrates love and the triumph of personality over class. Charles, the King falls in love with Nell Gwynn, an orange seller outside Drury Lane Theatre in London after she becomes an actor and thrills local audiences.

As well and being only the second woman to become an actor on the London stage, Nell was one of the many mistresses of King Charles II and one of two who he continued to liaise with until his death.  She was the one who he was truly in love with.  A comment on his deathbed indicates this – ‘… please look after my Nell for me…’

The play tracks the story of their meeting and their continued relationship over the years and is a superb mix of drama and humour. It is very true to the actual events that took place in Restoration England, after Charles had been restored to the throne following the Cromwellian era of austerity.

The play is set in mid-1600’s and is being set in that era – costumes and set will reflect that era. 

Critical responses to the play

“this rowdy comedy… celebrated the artifice of theatre and makes some neat political jabs.”  Catherine Love, in a review of the London production at the Globe theatre

“Jessica Swale’s play about the orange-seller turned acator cannily mixes Cary On gags with an explicitly feminist message”  Michael Billington, in a review of the London production at the Apollo Theatre

“Some may be disappointed that here’s more playfulness that profundity: we see the Nell that captivated the public and put on a show, and only hear snippets of her impoverished upbringing and prostitution.  But there’s still substance to this comedy. Jessica Swale’s writing deftly draws out a woman who remains 400 years later. Truly remarkable.  And. In tis portrayal of Restoration Theatre, the new play celebrated traditional drama and the progress we have made since.”  Lucy Brooks, in a review of the London production re-run at the Glkobe Theatre.