Jake Mace
In this modern queer retelling of Christopher Marlowe’s renaissance play Edward II, Edward (in Memoriam), we see the English Prince and King-in-waiting Edward caught in his overwhelming desires, passion and love for Piers Gaveston, the first Earl of Cornwall. The only problem being he’s due to marry Princess Isabelle and take the throne, oh, and the country’s at war in France. In 2000.
In a series of seemingly-chronological vignettes we witness back-and-forths between Aron Jackson’s fraughtly two-faced, well-imagined Edward and the figurehead of the armed forces Mortimer, played skilfully and with nuance by Ruby Skilton-Robinson. These are intersected with a dual narrative showing intimate moments and playful banter between Edward and Charlie Warwick’s Gaveston, alongside Mima Hurst’s Isabelle discovering her husband-to-be’s secret not before long.
As their engagement is called into question, as is the future of the crown – how long and how well can Edward cling on to the man he loves? And once Isabelle knows, can they hold their prospective marriage together for the sake of duty and country?
Noah Robinson’s highly original and well-researched script brings all of these elements together firmly – with a carefully formed respect for the source material and a focus on understanding how the characters would respond to modernity, as well as a clear, fluid and intriguing set of relationships that are well constructed, and gripping. Robinson spent time engaging with the plights that LGBTQIA+ veterans face in developing the piece, and the thoroughness of that research pays off dutifully.
The choice to place this piece within a series of vignettes, rather than as a straight narrative with unity of time or more imaginative chronology breaks, was confusing. There were many short moments of full blackout where repetitive music played over the darkness, with seemingly little need. There wasn’t much reconfiguration of set or costume taking place in this time, certainly not enough to warrant a full blackout, and it made me question this as a directorial decision as it took time away from the narrative, and jarred with the otherwise fluid scenes.
There were also some moments of blocking that didn’t fully respect the thrust staging. Most of the audience were end on with only a couple of us on the sides, and there were moments where Mortimer had her back to the vast bulk of the audience who presumably lost much of what they were saying. It’s worth noting that the performance I watched was on one of Scotland’s hottest days of the year and fans were whirring in the background which likely didn’t help the situation audibly, though I think we were all grateful that they were there nonetheless.
Jackson plays a convincing leading man, with moments of intimacy shared with Warwick’s Gaveston done tenderly and smartly, a boyish banter underpinning their relationship alongside their flirtations and confessions. Gaveston could be more fleshed out as a character – it feels as though we often see him waiting in the wings of this story, and it isn’t long before Isabelle’s plotting unravels both of them, perhaps before time in Gaveston’s case as a character.
Hurst’s Isabelle is a vengeful and righteous character played with form. It is perhaps her face we need to focus on the most to unpack the tension at the heart of this piece and she carries it off well throughout. The final moments of the piece reach an inevitable crisis-driven peak that doesn’t quite match the tension built across the show, though is in concept a powerful ending that could do with some additional pathos from both performers to deliver impact.
This alternative history revamp of the show packs in plenty of bright and brilliant themes through tightly-strung drama, though it falters in delivering its style effectively and in creating a satisfying narrative arc. Smart, rich, and filled with powerful performances, Robinson is one to watch.
Recommended Drink: Pair this with either a y2k drink like a Blue WKD or an ancient, rich red wine.
You can catch Edward (in Memoriam) until August 16th at Jade Studio at Greenside @ George Street from 17:20 (50mins). Tickets are available through the EdFringe Online Box Office.
Lamesha Ruddock
Jasmine Silk
