After a fantastic sold out run in Birmingham Edward II is ready to move to London next week.
Here is the fantastic review by Jane Highcroft from Yellow Book & Uk Arts...
Passion and Pokers aplenty
Christopher Marlowe’s Edward II by Jadis Shadows Productions
The Old Joint Stock Theatre, Birmingham.
The opening night of Jadis Shadows Productions Edward II, in Birmingham’s The Old Joint Stock Theatre was a somewhat unexpected triumph.
This was a new adaptation of Christopher Marlowe’s play, plotting the downfall of the unfortunate King Edward II. His destruction ensured through the jealous and frustrated machinations of his wife Queen Isabella and her soon to be lover Mortimer, due to his fawning upon his flamboyant boyfriends to the horror of the court.
This is a play which is notoriously difficult to stage and I was concerned that I may become numbed by the repetitive action of the play; as I have been before when watching other productions of this doom laden piece. Running times can reach three and quarter hours if it is drawn out mercilessly.
I need not have feared. The text had been delicately, yet thankfully, shrunk; while very few of the poetic moments had been lost. There were also some wonderful touches where the text had been altered or subtly shifted to create greater accessibility for an audience today.
This was a piece which was very obviously led by character rather than politics which was a refreshing change. Modern productions of classic plays do have a nasty habit of turning up the grit and attempting modern statements on politics which can be very wearisome and inappropriate in its placement. Not so here. Director Zak Marsh did a fine job in turning an audience’s attention to the human interest within the drama and so developed a greater empathy for his characters.
It was set, vaguely, in the 1920’s, yet this did not seem at all uncomfortable or clumsy. There was nothing laboured on this point and there was no need for there to be. The production simply seemed to hold its own distinct place in time, and as the character relationships were the focus, there were no jarring distractions which so often hold sway in overtly period set pieces.
The direction was largely tight and the movement around the sparse, yet dramatic, set had an interesting ebb and flow. At times highly naturalistic and intimate and at others almost Brechtian, the ‘tug of war’ representation of battle a moment of jovial genius. The cast were strong and worked well as an ensemble, although in a play of this nature there were, of course, those who drew focus.
James Tudor in the title role was a surprise. Having seen various Edward’s in my time I had expected a performance of less subtlety and enjoyed the manner in which he portrayed the early Edward as an immature, easily led, slightly petulant young man who only developed any maturity or fortitude when it was far too late. It made perfect sense and was very delicately played. It was obvious that Mr Tudor fully understood his character and won an audiences approval through sensitivity to his characters situation at all times. His conversational and relaxed delivery and wonderfully expressive face was both engaging and accessible, leading to his final scene which was all at once moving and pathetic and again surprisingly underplayed; gentle and almost strangely erotic causing true shock when the final moments come. The addition of his cocaine use during the scenes where he mourned his lover were also nicely done and added logic to a rather emotionally confusing scene and the manner of his doubling as his own son in the final scene was also intriguingly and cleverly done.
Mr Tudor’s foil throughout was a highly able Jonathan Goodwin who played Edwards two great loves Gaveston and Hugh Despenser, as well as his murderer, with aplomb. Mr Goodwin held sway over the stage and quite literally swept Mr Tudor’s Edward off his feet. The sexuality and bond between these two players was outstanding and gained great sympathy for the character of Gaveston, which is rare. The excellent portrayal of Gaveston as a slightly older man heavily influencing the King through his intense charisma and sexuality was inspired. This was in marked contrast with the usually bland portrayal of Gaveston as the pretty good time boy and is more in keeping with historical fact; Piers Gaveston was indeed a few years older than Edward.
Mr Goodwin held one more surprise when appearing as Edward’s murderer Lightborn. The sinister undertones were heightened by his use of sensual erotisism upon the weak and broken Edward, this was a moment both repulsive, yet hypnotic, leading to the moment when the infamous red hot poker appears. A very well considered and wonderfully presented characterisation topped by a seductive Irish lilt.
Lorna Meehan played a wonderfully solid Queen Isabella. No wafting, lily like, spurned spouse for her. You fully understood that for Ms Meehan’s Isabella her marriage had been one of political convenience also; her later anger and wrathful vengeance born from humiliation and wounded vanity not true unrequited love. Her delivery has a wonderful clarity which has the power to convey several conflicting emotions in a single line, deepening her characterisation and adding great depth to her text. Her moments of awakening passions were particularly well played, both gently seductive and wanton in a moment.
This leads me to the productions most interesting twist. The roles of Mortimer, Warwick and Kent were played by woman as women and so the adulterous relationship between Isabella and Mortimer was of a same sex quality mirroring that of Edward and Gaveston; revealing great hypocrisy in the scorn both Isabella and Mortimer pour on the King. A very nice touch which I enjoyed.
Deborah McEwan as Mortimer was in many ways the ideal representation of Mortimer in female form. Her sharp and often sarcastic delivery had a pithy, bitchy pace whilst in conversation which slowed to considered malevolence when in monologue. Her manner and characterisation stubbornly unchanging and determined to the end, whilst capturing a certain surprising sensuality in voice and movement which you could easily see casting a spell on the Queen.
Bianca Prentice as Warwick was both sexily buxom and temperamental, her husky voice only rising in pitch at moments of frustration and jealousy. Her overtly sexual characterisation provided a wonderful contrast to Mortimer’s subtle sexuality. Her wonderful usage of facial expression telling more than words even could.
Cecily Clayton’s Kent was at first ditzy and empty headed, and you could see small mirrored moments with Mr Tudors performance (most appropriate as Kent and Edward are siblings). Her breathy and giggly delivery and mannerisms were highly endearing and added nice moments of humorous relief. She is an actress who does expel a certain charm on her audience. It was only in later moments when I would have like to have seen more development leading to her treachery towards her brother.
In the roles of both bishops and the abbot Aaron Twichen played a well rounded ‘everyman’ with a wicked twist. A fully capable performer who handled the changes in characterisations with ease sliding gracefully from indignant anger to pompous scorn; but it was in his portrayal of the sinister Matrevis where he excelled. Seedy, yet in moments of violence almost cat like in elegance. The scene of his abuses towards Edward in prison were disturbingly vibrant and well played by both actors involved and was actually one of my highlights of the production.
In all a fine cast working within a very well considered and directed production, a piece unafraid to surprise and challenge. It is one of those productions which you feel will mature well with performance runs and I would be most interested to see it again on its travels.
