Review: DIE FEL OMSTREDE KROON VAN EDWARD II & GAVESTON at the Baxter Flipside Explores the Fine Line between Monarchy and Anarchy

At the outset, I beg potential patrons of this production not to avoid this play just because they cannot understand Afrikaans – this would be a grave error. The subtitles are comprehensive and, if you choose seats with a little height, you will have the perfect spot from which to observe the action while simultaneously glancing at the English translations of the dialogue. You won’t be jammer.

DIE FEL OMSTREDE KROON VAN EDWARD II & GAVESTON is the shortened title of this play. The full title is: DIE FEL OMSTREDE KROON VAN KONING EDWARD II & SY GUNSTELING, JONKER GAVESTON, ONDER WIE SE BETOWERING HY SY RUG KEER OP SY KONINGIN EN DIE KROONPRINS TOT DIE STEEDS GROEIENDE WOEDE VAN DIE HELE ADELSTAND EN DIE NOG ONBEGRYPENDE GEPEUPEL. Indeed, the latter is rather a mouthful so I am thankful to playwright, Tom Lanoye, for the abbreviated version. The production, which draws inspiration from Christopher Marlowe’s EDWARD II of 1594 follows the coronation and reign of Edward II, as well as the tragic consequences of the latter’s actions and choices.

King Edward II (played by Edwin van der Walt) struggles to decide whether to sacrifice his kingdom (and ultimately his Queen, Isabella, and their son, the Crown Prince, EDWARD III) or his squire, and the love of his life, Gaveston (portrayed by Beer Adriaanse). He cannot have both.  What, or whom, Edward II eventually chooses is open to interpretation but his lack of fortitude and his weak leadership skills have dire consequences for all. Van der Walt presents an astute embodiment of Edward II – an undisciplined and flawed character who is blinded by his infatuation with Gaveston. Van der Walt plays the arrogance and despair of the King with conviction.

Rolanda Marais as Queen Isabella is phenomenal. Marais crafts a strong and determined, yet deeply vulnerable Isabella,  who is as devoted a mother as she is a wife, who will do whatever is necessary for her family, and who is desperate for her husband’s physical and emotional affection. Marais’ portrayal is bewitching. I loved watching her.

I am perhaps most impressed by 12-year-old Caleb Payne who plays Crown-Prince Edward III.  The depth of his characterisation is superb, especially for such a young actor. He is certainly one to watch and he nails the portrayal of a child who is forced to grow up too quickly, who sometimes has no choice but to raise his own parents.

Then there is Gaveston. While the Squire’s name is pronounced ‘Gavis-tin’, all I could think of the entire time is Gaviscon, as in the medication, and the little, animated firefighters from the adverts of the early 2000s. However, while Gaviscon works to manage heartburn, acid reflux and indigestion, Gaveston does the opposite: he inflames every situation in which he is involved; he provokes all who cross his path; and he is the bile which quickly engulfs the kingdom, rendering it toxic. Beer Adriaanse is excellent in this role: menacing, capricious, unpredictable and contemptible while also human. Adriaanse resists the temptation to play a one-dimensional villain: he humanises his character and thus rouses some sympathy for a character who would otherwise resemble a man-shaped pile of acid-reflux.

Andre Roothman and Wilhelm van der Walt as Mortimer Senior and Mortimer Junior respectively (members of the Nobility) are stellar as well. They play a power-hungry father-and-son-duo: conniving, misogynistic, and, at times, frightening. Their characters disgusted me to the point that I clenched my fists while they were onstage –  which means they did a sterling job.

There is so much beauty and so much grit in this piece of theatre. Lanoye’s text is richly layered and works well in Afrikaans. The diction, whether read or heard, is carefully selected and rolls deftly off the thespians’ tongues. Indeed, the language itself is spellbinding and the quality of the acting provides a suitable platform for such a script.

The sparkly costumes are dazzling and sumptuous and I loved the different shades of gold and brown for most of the characters – and then lots of sequins and red for Gaveston: spectacle and danger.

Admittedly, I found the production a bit long at times. Act I is an hour and a half, followed by an interval of fifteen minutes, after which Act II stands at around 45 minutes. Since this show is so full of suspense and tension (when I exhaled at interval, I realised I’d been holding my breath), the length is a bit exhausting, and the pace sometimes slows. Additionally, audiences should be aware that there is some sexual violence which can be harrowing for more sensitive viewers. There were times when I struggled.

I commend Director Marthinus Basson’s direction of the nudity in Act II as well as Edwin van der Walt’s acting therein because, while van der Walt is completely nude, his lack of clothing does not overpower his performance; there is subtlety in his nakedness. That being said, for me, the nudity is unnecessary despite the impressive way in which it is handled. While understated, it feels gratuitous.

Basson’s set design is simple but ingenious. It features a large rectangular box made of sliding mirror-doors. Sometimes we can see through the mirrors into the box and sometimes we see only the characters reflected therein. In turn, they see themselves only in how they are reflected in the King’s own eyes: What is their value, worth, and purpose? Who finds favour in Edward's eyes?

Basson’s thought-provoking production asks relevant questions about concepts like power, relationships, and compromise. Indeed, it is too much of a jewel in South African theatre’s crown to be missed: do not abdicate such an opportunity.

DIE FEL OMSTREDE KROON VAN EDWARD II & GAVESTON runs from 16 to 27 January 2024 at the Baxter Flipside. Tickets cost R250 and are available via Webtickets. The play carries an age restriction of 16 for language and nudity.

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