Review of: Edward the Second

Homoeroticism practically drips from Red Bull's production of Christopher Marlowe's Edward the Second. As well it should since director Jesse Berger is using the late Garland Wright's adaptation (a world premiere) which places heavy emphasis on King Edward's (Marc Vietor) homosexual relationship with his consort Galveston (Kenajuan Bentley). Early in the show, a scene of full frontal male nudity between the two men sets the tone for this sleek, sinister and very lurid production.

Curiously modern in its awareness of the nexus between sex and politics (Marlowe wrote the play circa 1593), Edward demands to keep his governing separate from his private life. Yet his unabashedly open dalliances with Galveston enrage the court's Peerage. Led by the virulently homophobic Mortimer (an outstanding Matthew Rauch), an uprising is set in place to dethrone Edward. This is not without due cause since Edward's obsession for Galveston has blinded him to pressing matters of state. Mortimer wisely enlists the help of Edward's neglected Queen, Isabella (Claire Lautier) exploiting her anger (the scorned woman syndrome) to wreck havoc from within the royal family. Edward's brother Kent (Lucas Hall) is of little help to anyone as his loyalties and morals constantly shift.

Berger's production is quite dazzling to the eye. He puts Tony Award winning designer John Arnone's trench-like set to good use; the court scenes have a thrust that matches the central couple's libido. Peter West's lighting is both sensual and ominous as needed. Best of all are Clint Ramos' costumes which are so over-the-top sadomasochistic they threaten to upstage the entire production (at one point the male chorus is shrouded in leather fencing masks).Berger's direction has a no nonsense fluidity that seamlessly unites the opposing factions with a violent clarity. He is also able to neutralize some of the 'purple prose' aspects of Wright's adaptation while bringing us the fundamental Jacobean ending (in which the stage is littered with the dead).

With such a polished, powerful production, why do we feel a sense of remoteness, a lack of involvement? It is due mainly to the mediocre level of acting. The main culprit unfortunately is Marc Vietor's Edward. His detached, arrogant manner to his adversaries in the court makes for little dramatic tension. Displaying no qualities suited for his station and seemingly little regard for keeping his throne, Vietor comes off as a petulant frat boy in a gay bar. Kenajuan Bentley as Galveston fares not much better. He has no sense for classical rhythms of speech and is prone to sloppy line readings as well. Needless to say, there is little if any chemistry between the two lovers. On the other side, Claire Lautier's Isabella is as mannered and false as a runway model (she looks sensational in Ramos' costumes, though).Matthew Rauch as the villain Mortimer is the only actor who carries himself with the intensity required for the situation. He is ably supported by fellow compatriots Davis Hall as Lancaster and Joseph Costa as Warwick. It's rather curious in a play with such an openly gay plot that the most compelling part of the evening comes from the homophobic machinations of the English peerage.

Still, Jesse Berger's stage technique is too self assured and impressive (one is reminded of his fantastic 2005 production of The Revenger's Tragedy) to allow the show to sink. However with better principle actors, Edward the Second could have been a knockout.

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