Review: Merging the 14th Century Reign Of EDWARD II With The 21st Century Shows That Politics, Power, Passion And Personal Agendas Have Shaped Nations For Years.

Saturday 3rd October 2015, 7:30pm, Reginald Theatre, Seymour Centre, Chippendale NSW

Sport For Jove's latest production of Christopher Marlowe's EDWARD II is a gripping re-imagining that highlights that some things have not changed in 6 Centuries. Director Terry Karabelas has pared back the work to 15 characters to suit the intimate space of the Reginald Theatre but ensures that the power of the tragedy is not diminished.

Alicia Clements (Set Designer) has created a flexible, minimalist set that allows walls and marble benches to move to create bedchambers, war-rooms, cathedrals and dungeons. The monochrome palette and simple lines speak to Karabelas' staging of the work in the modern era rather than the medieval period in which Edward II reigned. This is continued through Melanie Liertz's costume design that sees Edward II with a relaxed but formal image, the nobility that surround Edward II in staid black suits and military uniform and his favoured minions in hipster skinny jeans.

The audience is greeted by the sight of a young man in casual attire, smoking, leaning against the marble bench, situated in front of black panelled walls with another lying in the shadows reading. Commencing with Edward II's (Julian Garner) coronation following the death of his father Edward I, David Stalley's beautiful sound design that bridges the gap between the modern era and the old world moves from the choral music to cathedral bells. As the story moves from the return of Edward II's favoured Piers Gaveston (Michael Whalley) from exile, imposed by Edward I, we see the passion between these two along with the loyalty from the other two minions Gaveston brings with him, Hugh Sepncer (Ed Lembke-Hogan) and Baldock (Simon London). The nobility that have an influence on the politics were all loyal to Edward I and over the course of the play seek to undermine the King in any way possible. Ringleader in these endeavours is Mortimer (James Lugton), who is joined by Lord Lancaster (Richard Hilliar), Bishop of Canterbury (Barry French), Lady Warwick (Belinda Hoare) and later Queen Isabella (Georgia Adamson). Along with his minions Edward II also receives varied levels of support from his sister Princess of Kent (Angela Bauer). Karabelas has altered the gender of some of the characters from Marlowe's original work which suits the contemporary setting where more women are in positions that can directly influence how nations are run.

Garner is magnificent as he captures Edward II's depth and complexity as the lovesick king endures a myriad of emotions from the joy of Gaveston's return, the disgust at his counsel for banishing him again, the anger at their murdering Gaveston, and the fear as Mortimer and Isabella seek to depose him and subject him to torture. He presents Edward as a passionate but weak king that allows his counsel to manipulate him rather than execute them for treason as Spencer urges him to do following Gaveston's murder. Garner is clear in his delivery, from the quiet comfort he gives Gaveston to the rage he expresses at Mortimer and the pleading with his jailers. He displays a broad range of emotions from Edward II's defiant love for Gaveston to the completely broken man being subjected to the sleep deprivation and beatings that Isabella and Mortimer have ordered.

Edward II's lover Gaveston is presented by Whalley with a cheeky lust filled devotion along with a vengeful anger at who he sees as being responsible for his initial exile. Lembke-Hogan as the new favourite following Gaveston's murder is more restrained but passionate as he urges Edward II to charge the murderers with treason and London presents Baldock, the poet as a quieter character that is seen as less of a threat to those that want to overthrow Edward II.

Edward II's key rival, Mortimer is presented as a dreadfully calculating tyrant that has his eyes set on ruling England by James Lugton. He captures the domineering horrid nature of the vile character with a sternness of a military or FBI mastermind. Mortimer's minions of sorts are presented with varying levels of determination. Hilliar gives the forceful rigidity of a military major whilst Hoare presents Warwick as a less passionate, almost disinterested participant that has chosen to side with Mortimer to save herself and French presents the Bishop as a manipulative blackmailer that can order pain but not suffer it himself.

Adamson initially makes Queen Isabella somewhat likable as she is convincing in Isabella's confessed love of Edward II despite the fact that she knows he shares every night with Gaveston but it is when she turns that she shines as a deliciously awful wife that will stop at nothing to see her lover, Mortimer, and herself take control of the country. She is poised and calculating as she orders her husband's demise. Her pleading with her son, Edward III for mercy upon his ascension to the throne shows how callous and delude she is.

Bauer presents Edward II's sister, Princess of Kent, as torn between supporting her brother and saving herself. Her hesitancy comes through in unusual choice of body movements that hang between reacting with anger and retreating in acceptance of the situation. Similarly, Gabriel Fancourt as Prince Edward, Edward II's son, is presented with varying levels of confidence as the young Prince is used by his mother and Mortimer until he becomes confident enough to stand up to them.

This work is an in-your-face, no holds barred expression of the passion and brutality that dominated Edward II's life is still present in the modern era. The issue of Edward II and Gaveston's love being forbidden in the 15th Century still resonates in the modern era where it is still rejected by a large part of the community. The power plays and manipulation still occur, just look at governments around the world. The monarchy may have less influence on countries but Karabelas' staging shows the parallels between the old world of Kings, Queens and Lords and the modern of Presidents, Prime Ministers and senior ministers and defence agencies.

This production of EDWARD II is a confronting work that must not be missed, not only for Marlowe's wonderful wordcraft, or Karabelas's contemporary vision but also for some wonderful performances.

EDWARD II

Reginald Theatre, Seymour Centre, Chippendale

1 - 17 October 2015

Photo Credit: Marnya Rothe

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