When gay theater
students go searching through classical dramatic
literature looking for some trace of their own existence,
inevitably they latch onto Christopher
Marlowe's Edward II as a rare example of
a famous playwright's work whose main character is
homosexual. Here's the true story of an actual king
of England who was gay and who caused high-level
turmoil by neglecting his nobly born French wife and
their children for his untitled boyfriend, Gaveston. That
the playwright himself was gay adds another frisson of
excitement for budding homo-theater scholars.
This thrill seems to be the driving force behind the
current production of the play staged by Jesse Berger for
the Red Bull Theater in New York City.
The problem is
that Edward II was no gay hero but a weak monarch whose
self-indulgence led to his downfall. As Winston Wilde writes
in Legacies of Love, his recently published study
of same-sex couples throughout history, "Despite his
excellent military training and record, Edward
despised warfare and competition. He preferred
thatching roofs, digging ditches, gambling, and carousing
with common folk," including Piers Gaveston,
the orphaned son of a French knight. While Edward
enjoyed the companionship of Gaveston, his wife
Isabella (sometimes known as "the She-Wolf of
France") plotted against him with her lover
Roger de Mortimer. They arranged to have Gaveston
beheaded, his successor for the king's affections
executed, and ultimately the king dethroned and
thrown into prison, where he was killed by the
classically homophobic form of murder: a red-hot poker
shoved up his ass. Marlowe's play, which is not
his best, boils this story down to a series of
hyped-up, bloody power struggles that become rather
numbingly repetitious. No one is a hero and virtually
everybody is a villain of one flavor (spineless,
petulant) or another (conniving, power-hungry). It's
sort of Dynasty meets Richard II (for which,
Shakespeare acknowledged, Edward II was an
inspiration).
The late great
queer filmmaker Derek Jarman characteristically fleshed
out his 1992 screen adaptation of Marlowe's play with
tons of imagination and visual style. (He even
invented an alternate "happy ending" in which
Edward's executioner kisses rather than kills him.)
Alas, the Red Bull revival shares no such richness.
Director Jesse Berger falls into all the traps that
lie in waiting for a contemporary staging of Edward
II. He goes overboard by gaying up the production
with stereotyped queer signifiers. The show opens with
Gaveston falling out of a club, techno music blasting,
playing grab-ass with his leather-clad compadres. The
roles of Edward and Gaveston are performed by two guys
with Chelsea-boy buff bodies who can't seem to keep
their shirts on (Marc Vietor and Kenajuan Bentley). Their
big love scene is performed completely nude (with
not-very-convincing kissing) accompanied by Maria
Callas singing "Casta Diva." Get the picture?
Yes, we see. I kept looking at the blond cutie with
the West Hollywood haircut playing Spenser, who
becomes Edward's consort after Gaveston loses his
head, and thinking, "How cliched can you get? To
play the young boyfriend, they hired an actor who
looks just like Justin, the ingenue from Queer as
Folk." Then I realized it was Justin from
Queer as Folk--Randy Harrison giving
his earnest lightweight all to the part. The only
actor in the cast who isn't embarrassingly mediocre
is Matthew Rauch as Mortimer, who eventually catches
the chest-baring bug (does that make him a medieval
metrosexual?).
The production
uses a new adaptation of Marlowe's play by
Berger's mentor, Garland Wright, the superb gay
stage director who ran the Guthrie Theater in
Minneapolis for several years and died of lung cancer in
1998. Wright made magic with his productions of plays
like Harry Kondoleon's Anteroom, Eric
Overmyer's On the Verge, and Christopher
Durang's Sex and Longing. I couldn't
help wondering what Edward II might have looked
like if he'd lived to direct it himself.