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King queen
GORDON PARSONS admires a version of Marlowe’s grim tragedy that strips it down to its gay essentials
PIETA: Evan Milton (as Lancaster) with Daniel Evans (as Edward) in Edward II
[Helen Murray] 
ANDREW FILMER welcomes the reopening of Glasgow’s landmark theatre after a seven-year transformation
CHRIS SEARLE encourages you to go hear a landmark performance, and introduces some of the musicians
WILL PODMORE welcomes a timely and clear-eyed account of both Nato and Britain’s fatal role in the process that led to war in Ukraine
IAN SINCLAIR reviews new releases from The Beaches, CMAT and Kathleen Edwards
RICHARD MURGATROYD is intrigued by a study that asks why the ability to diagnose outstrips the ability to cure
Edward II
The Swan Theatre, Stratford-upon-Avon
CHRISTOPHER MARLOWE’S grim tragedy is, understandably perhaps, the least often featured of his plays on the modern stage. With our contemporary fixation with LBGT+ concerns, it is not surprising that the RSCS artistic directors should have decided that the time is ripe for an airing.
Daniel Evans, one of those directors, stars in Daniel Raggett’s new pared-down production.
It can be no spoiler for most people who will see this play to recognise that its focal point is necessarily the final horrific rape and murder of a weak and ineffectual king whose obsession with sexual “frolicking with his minion” at the expense of his country’s good brings about his downfall.
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