Edward II is one of Christopher Marlowe’s least-performed plays today, and some may say it is easy to say why. Some would say it’s too complicated to stage, the characters are all over the place, whilst others claim the political angle is not quite in line with today’s state of play. I am here to tell you that those who think any of these thoughts are proved wrong with this intensely dramatic and delightful all-female version by Alex Pearson Productions, in association with Gloss Splinters.
The first thing to notice was that the staging was simple, yet easily adjusted: some of the set dressings were easy to remove if one of the characters was having an emotional outburst, or to move to show a change of scene. The cleverly constructed lighting by Steve Lowe added a layer of intensity and the perfect suggestion of mood and tone, highlighting Marlowe’s words in a way that gave the play more gravitas, especially in the moments where the real intentions of some of the characters were revealed, such as Mortimer’s real intentions towards Isabella and Edward II himself. Playing with shadow and textures in colour was the perfect way to indicate the type of scene we were to expect, as well as create intrigue as more drama came to the surface.
What none of us expected was a performance troupe that gave the term ‘girl power’ a whole new meaning. Six of the strongest, feistiest women are giving us a masterclass in how Marlowe’s work should be performed. Technically speaking, if you want to be really true to the era, it should be all men. Whilst this is historically true, more and more in today’s acting world, we seem to be coming back full circle to the fact that any gender can play male roles, which paves the way for future female actors. Doing it this way not only paid a huge nod to single gender performances back then, but gave it a modern twist that made every single role notably significant and interesting. They also took a huge risk that paid off in the sense of doing the whole play with no interval. There were no moments of awkward silences, changes, or flat energy. The whole cast kept us engaged and on the edge of our seats and never let us lose interest.
The whole cast were incredible, but I have to give some special highlights in this show to watch out for. First up was Natalie Harper’s titular Edward II, who had a commanding presence that demanded we adhere to his every whim. It was good to see Harper take on this complicated character in a way that challenged visual perceptions of royalty and openly explored the idea of where the real priorities lie in terms of marriage and friendships with some benefit. Harper was raw, honest and unabashed in her emotional choices and at times added a petulant childish quality whenever Edward didn’t get his own way. This was a great choice for this character and shall we say, a lot of emotional reveals were involved, which I will let you be the judge of.
Apart from Edward II, the rest of the cast doubled up as the other characters to add variety and intensity. One of this vibrant ensemble was Srabani Sen’s Mortimer and Leicester. Out of the two, her Mortimer gave us a refreshing insight into how a true villain should be done. If we think about Marlowe’s contemporary Shakespeare and his greatest villain, Iago in Othello, his racist attitude and manipulative nature sent chills down everyone’s spine. In contrast, Mortimer actually puts Iago to shame. Sen’s version was not only manipulative, but ruthless, cunning, brutally honest and ultimately charming, luring us into his world. She made sure that everything was in her favour and was not afraid to go down routes of thought that were so dark that it made her downfall that much more satisfying. This particular actor is one to watch!
Finally, Victoria Howell shone as Lancaster, Spencer, Gourney and a soldier respectively. With a stage prowess reminiscent of Ruth Jones, she showcased her full range of different characters with many intentions. From the nasty tongue of Lancaster to a joyous and charming chap, Spencer, she took the time to make sure each role was significantly different from the rest, making her one of the stronger character actors in the cast. Howell delivered a quality through each character that was full of emotional dedication, sensitivity and dramatic tension. This, in turn, again makes her one of the cast to keep an eye on as the show progresses.
Satisfyingly dark, with perfectly choreographed stage fights, natural comedic insights and strong performances, Edward II is the show to watch, giving Marlowe’s work the spotlight it deserves.
Review by Sascha Cooper
“All live to die, and rise to fall.”
After the death of the King’s father, Gaveston is hastily summoned back from exile on the whim of the reckless new monarch, Edward II, to a claustrophobic court filled with increasing unrest, intrigue and perpetual distrust.
Edward and Gaveston’s love is the catalyst that threatens not just to destroy Court life – but the very foundations of England itself.
When you have no choice but to live under the relentless glare of the public eye, is it possible to keep any piece of yourself intact? Is love truly worth the risk? As royalty clashes with the nobility, all seems set to disintegrate, Edward II explores the conflict between personal desire, political duty and legacy.
Cast:
Edward II – Natalie Harper
Mortimer/Leicester – Srabani Sen
Warwick/Kent/Baldock/Maltrevers – Emma Louise-Price
Lancaster/Spencer/Gourney/Soldier – Victoria Howell
Gaveston/Prince Edward/Archbishop of Canterbury/Lightbourne – Elinor Machen-Fortune
Queen Isabella/Bishop of Coventry/Messenger/Mower – Alison Young
Creative Team:
Alex Pearson – Director/Producer
Eve Oakley – Set and Costume Design
Hannah Claney – Sound Designer
Steve Lowe – Lighting Designer
Mig Dulevicius – Stage Manager/Technician
Scott Howland – Fight Choreographer
EDWARD II
By Christopher Marlowe
Jack Studio Theatre
31 March to 18 April 2026
