Tamburlaine (1587): Christopher Marlowe

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★★★★

(Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, 25 August 2018)

Something is brewing in the Scythian steppes. As the power of once-mighty Persia begins to wane under the rule of foolish Mycetes, rumours reach the court of a new leader rising in the north: a former shepherd, who has gathered a band of thugs and thieves and believes he is destined to rule the world. His name is Tamburlaine. Christopher Marlowe’s play is rarely performed, which is a pity because it has powerful resonance in the modern world. The RSC’s production, directed by Michael Boyd and designed by Tom Piper, was first staged in New York in 2014 and boils down Parts 1 and 2 into a single three-and-a-half-hour behemoth of death and ambition. (Imagine seven seasons of Game of Thrones condensed into 180 minutes and you have some idea of the amount of blood involved.) These cuts emphasise Tamburlaine’s dizzying rise to power, and the whole play is anchored by a magnificently charismatic performance by Jude Owusu.

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The Libertine (1994): Stephen Jeffreys

The Libertine: Stephen Jeffreys

★★★★

(Theatre Royal, Haymarket, 22 September 2017)

It is the age of Restoration: of rakes, rogues and wenches, frock coats, billowing cuffs and absurdly large periwigs. Charles II has been on the throne for fifteen years and the age is at its pleasure-drunk apex. Bands of drunken young noblemen riot through taverns and theatres, shaking off the privations of their Puritan youth. Their figurehead is none other than the most lascivious, most scurrilous, most impudent nobleman of all: the Earl of Rochester. He has just been allowed back to court after a previous prank went wrong (accidentally reading out an extremely crude poem in front of the Queen’s visiting relatives), and he is determined to make up for lost time.

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