What is the magic key that, as it were, opens the door to a classic play? It must comprise the understanding, the power, the energy and the devotion of those concerned with its interpretation. Here in this production at Hampstead Parish Church “those concerned” had found the magic key and grasped it firm. John Willmer as director, with valuable assistance and a much-talented cast had (by I am sure many hours of relentless hard work) given us the essence of a play that in the end gives as much as it demands – which is a great deal.
Yes, as John points out, this is a play relevant to our times, with issues of Church and State; it also digs deep into the core of faith, what is the danger of “doing the right thing for the wrong reason”. This is powerful stuff; from the beginning, when the women of Canterbury (of whom more later) speak of their fear for the future, a dark tide waits behind the movement of the play, rising fast as events combine towards explosion. At the centre, of course, is Thomas the Archbishop, whose return from France lights the flame beneath the firewood, and who endures a death that is both defeat and victory. From his first entrance David Gardner made it plain that he had entered the soul of the man: he had dignity, authority, and the calm of one who can say, as he does at the end, “I am not in danger, only near to death”. How well he listened, – to the tempters, to his priests, to the knights who have come to kill him. I found the “Interlude” of his sermon a still moment of calm. Though grandly robed, he spoke to “his children of God” with easy simplicity and described the paradox of mourning and rejoicing at a Christmas Mass with quiet authority.
But such a performance for its full effect depends on his fellow-players showing equal mettle, and here he was fortunate. To take first the women of Canterbury – they were beautifully interpreted: each was her own individual self, persuasive to watch. Each played her part in the tidal flow of the play and gave us the fine and familiar lines. There are many names and I cannot list them all, but as a token of an absorbing group I would perhaps select the youngest, Clemency Keily-Baxter, who gave us the last line with moving simplicity.
Then there were the Priests, the Tempters – who became the Knights. Again, actors who had truly grasped the essence of their parts, who held our full attention. Like opponents in a fencing match the Tempters finely tried to find the weak spots in the Archbishop’s armour: the Knights stormed the Cathedral with true menace. The Priests showed their devotion and concern. I particularly remember Robin Saikia as the First Tempter, and Said Abdallah as the Second. And Jon Siddall’s dignity as the First Priest. The specious apologies of the Knights are tellingly conveyed.
The play is also visually compelling. Margaret Willmer’s design worked wonderfully – I especially remember the opening to the second Part where the Priests enter with the banner of St. Stephen. This is a play, of course, for which the Church is the perfect background. The dress also fits admirably, for this is, as has been said, a play for our times. The black-robed priests and the knights with their coloured capes make a strong impact on the stage.
The climax of thanksgiving, after the death, was beautifully taken, lifting the play from darkness into light. This was an inspired production which fulfilled all its ambitions and rose to every challenge. Congratulations to all involved, both on stage and behind the scenes.
Diana Raymond
Review – Murder in the Cathedral
Diana Raymond