Theatre Review: Edward II

trigger warning: discussion of violence and death

The RSC takes Christopher Marlowe’s already violent story of Edward II and amplifies the brutality and gore through their seemingly unlimited use of blood and special effects. The King battles against his advisors and his wife in an attempt to save him and his lover, Gaveston, with seemingly no relief.

The audience is thrown into the play’s central conflict as the nobles mourn Edward I’s death – quite literally, as they are invited on stage to pay their respects before the show begins. This is a particularly sombre scene and is immediately contrasted by Gaveston’s boisterous soliloquy which takes place in a sauna – expertly created through use of a smoke machine – surrounded by his queer companions. He boastfully talks of the king’s favour for him, his speech full of innuendo. We are left in no doubt that Gaveston is an outsider – his pride and lust are the complete opposite to the more traditional and restrained royalty. Director Evan’s choice to emphasise Gaveston’s character rather than his queerness as the root of the nobility’s antipathy is particularly important as it allows the queerness to be explored in a way that doesn’t dominate the other themes of the play – power, religion and violence.

This production of Edward II makes use of all the theatrical weapons available […] to ensure that the audience are fully immersed in this tragic story of queer identity, loss of power and betrayal

The RSC continually nails its costuming, with Leslie Travers choosing to further indicate Gaveston’s difference in his all black suit with an unbuttoned shirt, illustrating his preoccupation with appearance and his lack of formality, contrasting the stiff military uniform the nobility wear. Loss of costume is a significant symbol throughout as the conflict begins to
amp up. The Bishop of Coventry’s religious robes are torn off him by Gaveston, and the play ends with Edward II’s nudity.

Daniel Evans’ portrayal of the titular character’s infatuation is exemplary – the King springs into Gaveston’s arms upon his return after being exiled and remains there for most of the scene. Evans is particularly childlike around Gaveston, acting like a teenager, as he dramatically renounces anything and everyone who keeps him and his lover apart, but seems helpless to prevent any of the harm that comes to Gaveston. He transitions well into his despair as we see the initially effervescent King distraught over the terrible turn that events take. In a particularly striking scene, he smears blood across his chest – just one of the many times we see the King covered in gore. His vulnerability increases across
the play through acting and costume. Initially in military uniform, a grand purple cape and his crown, Edward slowly undresses throughout the play’s duration, his slow decrease in clothing ending with his full nudity, as his underwear is torn off him, highlighting his complete loss of power and agency.

Daniel Evans’ portrayal of the titular character’s infatuation is exemplary […] his vulnerability increases across the play

A stand-out scene comes at the end of the play. Here the action builds to a crescendo of sound and movement. The cacophony of sound from Edward’s screams, music and sounds of water unnerve the audience, which is only furthered as they quickly piece together the awful conclusion to Edward’s resistance. The tone of this scene is perfect.

The casting is overall excellent, particularly Freddie Beck who plays young Edward II, successfully highlighting his transition from a little boy in pyjamas pushed around by his elders, to a king who commands the execution of his own mother and seeks to respect his father. The fight for power ironically ends up in the hands of the character who both began with the least power and had no interest in obtaining it.

This production of Edward II makes use of all the theatrical weapons available: powerful acting, spectacular costume design, and impressive special effects, to ensure that the audience are fully immersed in this tragic story of queer identity, loss of power and betrayal.