Review: EDWARD II, Swan Theatre

"I'll bandy with the barons and the earls, and either die or live with Gaveston." There has been much conjecture over the centuries as to the true nature of Edward II’s relationship with Piers Gaveston; were they friends, committed partners, or something in between? It’s not something for which we can ever have conclusive proof, thanks to the passing of time and the fact that sexuality wasn’t as rigidly defined in medieval times as it is now. Christopher Marlowe had his own thoughts about the pair, and that is what we see brought to life in his history play.

Edward I is dead - long live Edward II! Before Daniel Raggett’s production even starts, the audience is invited to immerse themselves into the world of the play by forming a procession and paying respects to the late king. It speaks to the verisimilitude of the moment that even the opportunity to walk on one of the RSC’s stages couldn’t entice me, a staunch republican, to join the line. This version of the play is around 100 minutes long, so by doing this at the beginning it does feel like the show begins as soon as you set foot in the auditorium.

The condensed running time is incredibly effective and demonstrating the ebb and flow of power between Edward and his nobility; as one faction gains control, the other is already plotting to wrest it back from their grasp. It fits well with some of the hastier decisions that are made along the way, as everyone is having to think on their feet in this high stakes game of chess. The whole thing plays out like a thriller, this modern dress production backed by pulsing compositions by Tommy Reilly - and enhanced by Tingying Dong’s sound design.

One thing to bear in mind if you’re booking is that it’s probably better to go for a seat in one of the galleries, as you get to take in the majesty of the whole production - and your view of Edward’s final moments is unlikely to be obscured. Granted, it’s far from the most pleasant of endings, but unless you’re in a select few seats in the stalls you’re more likely to be looking at the back of someone’s head than seeing what’s happening. A rare moment of slightly careless direction in an otherwise superbly guided production.

It’s interesting to see Enzo Cilenti portray Mortimer as a seemingly unthreatening figure - so rather than completely villainising him from the off, the audience is able to make up their own minds about his actions. Ruta Gedmintas uses her physicality to demonstrate Queen Isabella’s moments of control or attempts at gaining it; both the positioning of her arms and making clear the slight height difference between her and Evans (as Edward) are definite power moves. It’s notable that in Isabella’s lowest moments Gedmintas attempts to minimise her presence.

Daniel Evans gives a powerful performance on his return to the stage, effortlessly flitting between moments of entitled grandeur and real glimpses of the humanity behind the crown. He makes Edward’s passion and affection for Gaveston (played with a swagger by Eloka Ivo) feel incredibly real, and thus showing why events play out as they do. Stavros Demetraki and Kwaku Mills also produce a pair of scene-stealing turns as Spencer and Baldock.

This feature-length production of the classic play is an excellent introduction to Marlowe’s work, keeping you hooked on the action from start to finish. A spectacle well worth a trip to Stratford-upon-Avon to experience.

Edward II is at the Swan Theatre until 5 April

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