Review: MURDER IN THE CATHEDRAL, Starring David Suchet

The Orange Tree's Tom Littler is not afraid of variety. After staging a delightful and clever version of Love's Labour's Lost and Much Ado About Nothing, set in the grounds of a Richmond school, he has turned to T.S. Eliot’s 1936 verse drama, Murder In The Cathedral, set in the church opposite the theatre. With a star turn from veteran actor David Suchet, this thought-provoking production is as captivating as it is atmospheric.

Exploring the assassination of Archbishop Thomas Becket in Canterbury Cathedral during the reign of Henry II in 1170, Eliot touches on kingly and spiritual authority; faith and conflict; temptation and martyrdom. Becket returns to Canterbury after a seven-year exile, but this ‘turbulent priest’ is seen as a challenge to the authority of the king and must be eliminated. 

If you do not know the historical context, it is worth a moment of research to fully appreciate the production. Tom Littler's direction makes excellent use of the play’s potentially tricky format of spoken verse which relies on speeches, more than interactions. He is helped by a strong cast, who animate the language and bring it to active life.

David Suchet is magnificent as Thomas Becket, embracing the contradictions of a man who is both self-serving and devout. Is he actively seeking martyrdom for his own ego, or is it the will of God? Suchet is affable, dignified and beautifully fluent, particularly in his delivery of the Christmas sermon from the pulpit. As the door is finally opened to the murderous knights, his hands shake ever so slightly and his lip trembles momentarily, showing the human fear behind the pious man.

David Yelland, Ben Caplan, Nick Sampson and Jyuddah Jaymes show great versatility as both Tempters and Knights. Jaymes shows particularly wry humour and Yelland is smooth and slightly smarmy. The Chorus of the Women of Canterbury, clad in dirty beige, with blackened feet and faces are a powerful presence. Mila Carter, Sally Cheng, Rebecca Thorn and Chyna-Rose Frederick sing haunting harmonies with no accompaniment, save for a foreboding drum beat. Their presence is sometimes calming, sometimes unsettling, conveyed beautifully by Lizzi Kew Ross's movement direction.

The play is often staged in a church, but the creative team has brought huge creativity and thought to the production. St John the Divine in Richmond features a soaring vaulted ceiling, large Stations of the Cross and a striking crucifix hanging above the action. Robert Jones creates a raised catwalk along the aisle, with sensitive draping of fabric covering the altar and tabernacle.

Peter Mumford's lighting is mesmeric: lines of up-lights project along the sides of the catwalk, with effective use of white, blue and shocking flashes of red. Mumford makes use of the shadow in the building as much as the light and the effect is both atmospheric and suitably sinister. It also helps that the church provides its own scent to the evening, with wafts of incense hitting you throughout. Max Pappenheim's sound design and Orlando Gough's music continues on the ethereal theme, with evocative drum beats and pulsating echoes.

Haunting and captivating, this is an unusual and unsettling production that will be unlike anything else you have seen this year.

Murder in the Cathedral is performed at St John the Divine, Richmond until 7 November before transferring to Theatre Royal Bath from 10-21 November

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