Edward II is a bad king. He is not ‘bad’ because he is cruel and tyrannical like his father but because he lacks the most important attribute of sovereignty: he cannot rise above his fellows, he is always thinking about himself.
Christopher Marlow’s play was revolutionary for examining feelings and the private life of a monarch. We may be very well used to peeps into the regal bedroom now, but in 1592 this was hot stuff.
This production starts with the return of Piers Gaveston, the king’s ‘favourite’, called back from exile, seemingly the first thing the new king has done when he assumes the throne on the death of his father. Gaveston’s intention is a return to the life of ‘wanton poets and pleasing wits’ in the company of ‘the king on whose bosom let me die.’
He swears revenge on his enemies, the powerful barons of England. This does not bode well for Edward II who is supposed to be commanding his unruly court, not showing undue patronage to one man just because he loves him.
Much of what passes for politics in Edward II is baiting and insult between the courtiers who are sniping at the king for his failings. Edward meanwhile, played with aplomb and just the right measure of scarcely-concealed insecurity by Natalie Harper, is only keen to get on with his relationship with Gaveston.
Meanwhile the neglected queen Isabella, played convincingly by Alison Young, begs to have time with her husband and finds comfort with one of his enemies when her entreaties are not heard.
This production, with an all-woman cast, is played in modern dress with the actors playing multiple roles with varying levels of success.
Elinor Machen-Fortune shows an impressive range, the stage lights up when one of her characters appears. As Gaveston she simpers at the king and bitches at the barons; she whines as the prince before coming into his own as Edward III; she cringes as the decrepit Archbishop of Canterbury and is gloriously evil as the king’s assassin Lightborn.
The full title of the play references Edward’s ‘troublesome reign and lamentable death’ though this version focusses on the personal. The reduction of the play from five acts to one, of 95 minutes, to cater for our modern short attention span, is expertly done. We don’t leave the theatre feeling we have missed something though this condensing does mean the play loses its more political aspects such as the English defeat at the Battle of Bannockburn to the Scots half way through Edward’s reign.
This was almost the last play Marlowe wrote before his death at 29 in a pub brawl not far from where Edward II on stage. I like to think he would have enjoyed this fast, transgressive production.
Jack Studio Theatre
Playwright: Christopher Marlowe
Director: Alex Pearson
Cast: Natalie Harper, Srabani Sen, Emma Louise-Price, Victoria Howell, Elinor Machen-Fortune, Alison Young
Duration: 95 minutes no interval
Until: 18 April 2026