“Why would you love him who the world hates so?
‘Because he loves me more than all the world'”
Modernised, intensified, eroticised – this isn’t Marlowe as you know him but you kinda get the feeling that Kit would have approved of Lazarus Theatre’s re-imagining of Edward II. From the atmospheric parade of its opening to the desperate brutality with which it ends, Ricky Dukes’ production immerses its audience in a world of toxic masculinity and political power-play that rings as true today as it surely ever did.
Edward II’s first act upon becoming king – after donning a sharp gold suit and the most luxurious of fur-lined robes – is to reclaim his lover Gaveston from exile and install him in his court, against the express wishes of the vast majority of his court, not least Edward’s queen Isabella. And so a battle royale begins, not just for the crown itself but for the right to live the life you choose, regardless of how society perceives it. Continue reading “Review: Edward II, Tristan Bates”
“I mean to be a terror to the world”
I’m fully on board with Yellow Earth Theatre’s objectives of identifying and investing in British East Asian emerging and established actors, writers and directors, so it does pain me a little that their production of Christopher Marlowe’s Tamburlaine didn’t quite do it for me. Director Ng Choon Ping has spun a highly theatrical adaptation out of one of the earliest plays to be considered a public success, but its inventive ambition works against its dramatic effectiveness.
In Moi Tran’s spare design, a company of six cover more than twenty roles in this compression of the saga of the Central Asian emperor Timur on whose life it is based. And with the design being so minimal, the constant multi-roling becomes dizzying, projected captions not quite doing enough. Additionally, given that five of the six are women, there’s a layer of gender fluidity which is thought-provoking in this extremely masculine world but ultimately under-explored. Continue reading “Review: Tamburlaine, Arcola”
“The hot whore of celebrity”
Jon Snow is dead. Isn’t he? I suspect there’ll be a twist in the tail as far as the newly started sixth series of Game of Thrones is concerned but for the meantime, Kit Harington is alive and kicking his way through this raucous reinvention of Christopher Marlowe’s Doctor Faustus for The Jamie Lloyd Theatre Company.
My 3 star review for Cheap Theatre Tickets can be read here. And my little preview piece from a couple of weeks ago is here.
Running time: 2 hours 20 minutes (with interval)
Photo: Marc Brenner
Booking until 25th June
“Hell is within”
(As are production spoilers)
As Jamie Lloyd’s Doctor Faustus is currently previewing but doesn’t open officially until 25th April, I’d get in trouble with the Devil herself (and possibly Mary Berry) for publishing a full review. So here’s a little amuse-bouche for you Continue reading “(P)review: Doctor Faustus, Duke of York’s”
“I will have Gaveston, and you shall know what danger ’tis to stand against your king”
Now this is what I want my National Theatre to be like – creative, bold, fresh, fearless. There’s no pretending that Joe Hill-Gibbins’ production of Marlowe’s Edward II is flawless perfection, its modern ambition sprawls over the Olivier’s vast stage and up onto the walls as screens either side relay live video footage, but the energy at hand from both cast and creatives is wonderfully galvanising and points defiantly towards the possibilities of the future when Nicholas Hytner finally stands down in a couple of years. Traditionalists may balk, especially in some of the more challenging sections of the first half but for this institution to thrive, it has to be allowed to experiment and expand its remit and that ought to be supported by all.
Under the cruel yoke of his father, Edward suffered his lover Gaveston to be exiled but on ascending to the throne to become Edward II, he restores him to England and lavishes him with jewels and titles. But their overt hedonism riles up the powerful barons of the realm as they take up the cause of his neglected queen Isabella in an audacious power-grab, setting up the kind of conflict that leaves no-one unscathed. John Heffernan ascends to his first major London lead role with all of the subtlety and aching depth that has long made him a favourite around these parts. His Edward is a capricious fidget, pathetically desperate to please Kyle Soller’s cockily assured Gaveston and their headlong lustful passion is one that you believe he would fight tooth and nail for, yet he also possesses an innate grace under pressure – his abdication speech is profoundly moving, the desperation of his exile near-impossible to watch. Continue reading “Review: Edward II, National Theatre”
“The reward of sin is death”
The tale of Faust is one which is seemingly never far from our stages in one form or another, whether it is opera, another opera or Icelandic acrobatics. But Christopher Marlowe can lay claim to perhaps being the first to dramatise this story back in Elizabethan times and this production of Doctor Faustus marks the first time it will have been performed at Shakespeare’s Globe.
A strange mixture of dark tragedy and broad comedy, the play looks at the danger of recklessly pursuing the quest for knowledge, power and wealth without due responsibility. Faustus, tired of his life of dusty scholarship, makes a pact with the Devil exchanging his soul after death for 24 years of service from his trusty servant Mephistopheles. Blinded by the material benefits that easy access to the dark arts garners him, the reality of eternal damnation doesn’t hit until far too late. Continue reading “Review: Doctor Faustus, Shakespeare’s Globe”
So my second trip to the Globe took me to Edward II, a play by Christopher Marlowe which was another all-male production and actually carried over almost the entire cast from Richard II which was a nice touch I hadn’t realised until I got there. I like the idea of a company doing more than one play as it means that the bonds within the group have time to really develop and become something more special than if just for a short run.
Covering most of the key events of Edward II’s reign, the play hooks around the relationship between the King and his favourite, Piers Gaveston who was showered with love, gifts, lands and titles by his royal lover. Though interestingly, the shock value from the play would originally have come from the social/class barriers that were breached rather than the sexual ones, as the barons and lords of the court would have been outraged at the fact that Gaveston was of lowly birth rather than the fact that he was a man. For at the heart of this play is a debate about politics and the lengths to which the establishment will protect what they see as theirs by right.
The relationship between Edward and Gaveston is perfectly played and completely unafraid of being physical. Gerard Kyd as the favourite brings a fabulous energy and a freedom to his movement and behaviour which instantly sets him apart from the rest of the staid court. And with Liam Brennan’s touching King matching him for passion, their’s was a moving, believable relationship. The rather refreshing liberal take on homosexuality both in the play and this production was negated somewhat by the giggling tourist-heavy audience of the Globe though.
But there is much else to the play, with the viciousness that spurned wife and Queen Isabella pursues the downfall of her errant husband’s lover and then the King himself as she takes her own lover, the fiercely ambitious baron Mortimer. Justin Shelvin was convincing as the tyrannical baron, but I wasn’t too sure about Chu Omambala as the Queen, not really hitting the emotional depths of either despair or vengeance, literally being outshone in every sense by Gerard Kyd’s Gaveston. The all-male casting actually didn’t make that much of a difference in the end, which I suppose is the point, it felt natural and worked with the material.
I loved being a groundling again, even with a show that was over three hours, as it was very musical with lots of drums, tribal dancing to represent battles and being up close to the actors makes me feel a little sorry for the people who are sat down on the hard wooden benches!