Edward II

Edward II is a contemporary adaptation of the original Christopher Marlowe play but the text easily stands on its own as a new and innovative piece. The main characters are retained and all the sexual and political intrigue is effectively transferred into this production. The text dedicates a great deal of attention to the tender relationship between Piers (Paul Ashcroft) and Ned (Johnny Carr) and depicts their attraction with the complexity and naturalness of any ordinary couple.

The set is designed to designate the grandeur and the large scale physical and psychological spaces the characters inhabit. While open and sparse, it consists of some fine details that have a fascinating metonymic function to indicate regal power and authority. The staging creates an interesting cinematic feel which is further enhanced by projections of the objects present on the stage; leather-bound notebooks, gilded statuettes and valuable objects such as a lighter or jewels often appear larger than life as a backdrop to the scene. The symmetry in the arrangement of the décor is echoed in the often-stylised movement, and this is accentuated by technological sounds such as camera snapshots or the hum of incessant typing typically found in a WWII war room. The scale of the action seeps beyond the stage to suggest a vast realm.

The scheming Mortimer (Marco Chiappi) and Sib (Belinda McClory) are given all the nuance of the original characters and they set in motion a train of events that lead to the betrayal of the King. As in the original play, it is the realm that survives and triumphs at the expense of the individuals whose self-interest results in their demise. The themes of tragic love and political power games are all powerfully translated in this performance. However, in this play there is also a particularly refined emphasis on the theme of the temptation to indulge in luxury and excess. This is made in an understated yet emphatic manner, and is one of the reasons why the play is so comfortably transferred to its contemporary setting. The Boy (Nicholas Ross) embodies a chilling contrast of youthful naivety and sinister intentions, and the entire cast deliver a performance that is evenly and expertly calibrated so that the measure of power of each character is appropriately conveyed.

This is a haunting and beguiling play with an intensity that is never heavy handed but always present through each and every aspect of the performance. The taut yet frequently playful dialogue sets the tone and the production lives up to all the promise of the unusual rhythms provided by the rich and figurative language.

Patricia Di Risio

Images: Johnny Carr & Marco Chiappi, and Paul Ashcroft & Johnny Carr. Photographer: Pia Johnson.