The temptation is to see Christopher Marlowe’s brutal history play as a commentary on homophobia. After all, it is about a king who loses his throne thanks to loving a male courtier. The other nobles, disturbed by Edward’s devotion to Piers Gaveston, close rank. From that point on, Gaveston’s days are numbered, as are those of the king.
But it is more complicated than that. Daniel Raggett’s urgent, brooding production highlights the dilemma from the start. The old king is dead and lying in state. The audience are invited to process around the coffin, with its extravagant silver crucifix caught in the beams of Tim Lutkin’s austere lighting. The live score by Tommy Reilly is reverent and sombre.
