Edward II
The National Theatre, October 21, 2013
“Crazy” was the word I kept
hearing in relation to The National Theatre’s Edward II, and so crazy was what I was expecting going in. That was
my first mistake. Yes, that’s a fair word to use for certain moments of the
production, but it isn’t a word I would use to sum up the production as a whole…
unless we’re talking about the crazy lack of continuity present in this
production.
The
production starts before you even take your seat, the stage is fully lit with
no sort of curtain to conceal the exit and entrance of cast and crew as they
prepared for the beginning of the play. There was a sort of Brechtian
alienation effect in the obviousness of the ‘play,’ the revocation of a ‘suspended
disbelief’ by putting it all out in the forefront. And then, with a sudden
banging of drums, the play begins with the coronation of Edward II.
Going
onward with this alienation effect, as the coronation ends, a loud applause and
screaming came from House Right, introducing us the bold and reckless Gaveston,
Edward’s banished lover. Now that Edward is King, many of his father’s laws and
precautions have been tossed out the window, giving the rest of the nobility
just cause for worry. The plays continues onward in this fashion as director
Joe Hill-Gibbs uses a film crew following the cast into an enclose area of the
stage to illuminate the ‘behind closed doors’ elements of Edwards’ court. From
a homosexual club scene to plans of coups take place within this space,
projected onto two screens for the audience to view. While this was visually
interesting, and added a depth of layering to the show – and allowed the
director to draw our attention to very specific details – I honestly could not
find any sort of textual support or reasoning behind this choice.
The
performance of Kyle Soller as Gaveston was a highlight of the night, as he
jumped from the House onto the stage, showcasing a variety of physical
capabilities while still delivering Marlowe’s words with clarity and true
feeling. The character is a difficult one, he is both loving and conniving,
enabling and controlling – obviously flawed but wholly unapologetic. As his
significant other and complete servant, John Heffernan’s Edward II is a petty
young boy: selfish, reckless and petulant. When together on stage, the power play
is turned upside down as the common-born Gaveston flaunts his power over the
King. Whatever Gaveston wants and more is granted to him and the nobles’
obvious disdain is understandable.
Also
shining in their hideously flawed role was Vanessa Kirby as Queen Isabella, the
desperate and neglected wife of Edward. While there were times when my
inner-actor was jarred by her disregard for her own vocal safety as she cried
out against her mistreatment, I was touched by the truth and feeling behind her
words. Her relationships with her son as well as the somewhat confusing
character Mortimer the Younger, who another one of Marlowe’s confusingly good
and cruel characters, are strong and understandable while still hazing in her
desperation to be accepted by Edward.
What
was most confusing with this production was the constant set-up for a scene
that could leave you stunned, and then the letdown as the plays backs away
instead of careening forward. Act I is filled with a number of small elements
that had the possibility of coming to a satisfying climax of conflict in Act
II, but then Act II backs away from the intense energy of Act I and we as an
audience, are left struggling to stay awake. I liked the beginning of Edward II and the introduction of
different controversial elements, but was disappointed by the lack of
dedication and risk.
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