Murder In The Cathedral by TS Eliot

Emma Pearson October 15, 2010

The incense, the organ, the shadowy cathedral domes, the winged skull leering from the column opposite – this play was always going to score full marks on atmosphere. Before the cathedral opened we formed a queue outside. Then the usher proclaimed in Shakespearean tones that we should 'queue not upon the time of our going but go at once!' and we were led through the cloisters by the chorus of Canterbury women, who occasionally broke into plainsong, and managed to make “will everyone with pink tickets go to the front” sound medieval and slightly ominous.

This play felt like a Greek tragedy. It was not just the presence of the chorus, but the sense of unspecified doom and the thick miasmic incense. It took me a while to get a sense of the central drama, because Eliot's script doesn't spoon-feed you the point of it all. Becket's internal struggle is not one snappy dilemma, but a brain teaser about temporal and spiritual power, and how he fits into their uneasy union. He used to be Chancellor and friend to King Henry, but now his duties as archbishop of Canterbury strain old loyalties. As a religious figurehead, he must not only do the right thing but do it for the right reasons. If he must die, it cannot be for the glory of martyrdom.

Because of the cathedral setting, the chorus of women were cast as women living and working there. This worked well. While other action was going on, I caught glimpses of them moving in the background, singing as they worked. You could easily believe yourself part of the cathedral community, such that when the murderous knights came to thunder at the door demanding to see the archbishop, and all around the women chorus were cried in fear, it felt very much like we were in the middle of the danger. What added to this impression was that the actual murder was done at the high altar – far away from us and difficult to see. It felt less like a drama played out for the benefit of the audience, and more like a terrible event spied upon from afar.

After Becket was killed, the knights reappeared in suits and defended their action, academic-conference style. They were great fun to watch – one fumbled with his glasses and spoke too close to the mic with a self-conscious logic that implied a life in the library. One carried a sword, which was politely confiscated before he spoke. They emphasized their disinterestedness, and bid us ask ourselves the question ‘who really killed Becket?’, taking us through his obstinacy and the fact that he had opened the cathedral doors to them when he knew what the outcome would be. They were generally just a bit facetious, which contrasted so starkly with the hero and chorus that you felt hoisted out of the world of tragedy and back into the bookishness and careful manners of present-day Oxford.

The effect of this creative production was lasting. For those of you that have tickets, look forward to an evening of high drama, cloaks, cassocks and at least a few laughs (one of the messengers has a funny hood.) Also, it’s in a cathedral. Wear a coat.

Lita Doolan October 14, 2010

Post show talk 14/10/10

Sitting late into the night, in the centre of Christ Church Cathedral a small group of local parishioners and Oxford alumni share an impassioned reaction to what is surely a triumph. Old and familiar stories of OUDS are being exchanged, along with open and honest reactions to the show we have seen, before the talk properly begins. Murder in the Cathedral is a new Playhouse project to unite Oxford University’s talented theatre makers both past and present in the staging of a professional production.

Being in close proximity to the cast, I recognise the faces of a few professional actors from the London stage in the group and note how comfortable they are sharing an equal footing with current students. The synergy of the group is an obvious success from the sharp witty banter flying about and is already a great catalyst to the students performing in their first professional engagement.

It shows true commitment that only minutes after taking their rapturous applause every single cast member along with the creative team return to take questions and discuss T S Eliot’s play further with us. The actor who played Becket (Timothy Allsop) faces the most impenetrable question of the night. From performing the text the actor is asked of his opinion as to whether Becket knew he was going to die or not. Opinion from the audience suggested we could not make up our mind from the text alone. Timothy Allsop helps us out with a terrific answer that I paraphrase, saying that although Becket was at the centre of the wheel he was also instrumental in turning it, yet at the same time he remains fixed in the centre of it, watching.

The open discussion lets us become a tad nosey about the logistics of producing a show. It is mooted that rehearsals took less than three weeks with the magic of the amazing architecture being cited as the cause of such excellence being achieved in a short time. Of course sheer raw talent is the other possible answer! Such has been the interest in this production a queue of people braving the cold stand earlier at the ticket desk hoping for a returned show ticket. Programmes are also flying out of the hands of the brilliant ushers.

The Learning Department are to be thanked for this informative and informal post show discussion on an intriguing play. The warm intimate atmosphere of the forum held in such a vast inspirational venue proves a valuable connection to a classic play and offers a chance to hear insights into the work of the creative team such as the composer (David Allen) and Assistant Director (Will Maynard).

Lita Doolan October 7, 2010

Murder in the Cathedral is causing a stir with tickets in short supply after selling out in a matter of weeks at the Box Office. The large cast is comprised partly of Oxford University Students who have proven themselves through auditions suitable to be under the spotlight of an Oxford Playhouse production.

No doubt the stunning setting of Oxford’s Cathedral is a major draw for the audience however the choice of producing a verse play is an inspired one. This genre, having been wiped out of popularity due to the forceful words of angry young men such as John Osborne at the Royal Court in 1956, is building up to a slow and steady come back. Fresh new work on the London stage is now often being presented in verse, such as Fram at the National.

The central question to T S Eliot’s masterpiece, based on the written accounts of eyewitness and Clerk Edward Grim, asks why we do what we do?’ The question is as important now as it was when the historical event Eliot chose to dramatise took place in December 1170. Archbishop Becket continues wilfully along a path that sees him executed for not lifting the excommunication on King Henry II’s favoured Barons. Listening to the Old Vic recording of a 1953 performance of this piece shows there is portentous language all the way in a classic two act structure that will resonate well amongst the candles and cloisters of Christ Church.

Alas the waiting list for returned tickets is looking more like a telephone directory but it is heart warming to see fellow theatre goers sharing enthusiasm for a rarely performed classic play. Having followed some of the Director’s (Tom Littler) work on the London stage a hallmark of clarity needed to illuminate the truth in the work shines through. Olivier Award winning Theatre 503 presented his interpretation of J T Rogers’ Madagascar and his production of Bryony Lavery’s Origin of the Species was well received at the Arcola. Previously his summer show of As You Like It in Christ Church Memorial Garden was enjoyed by a large local audience.

If you are lucky enough to have a ticket to his forthcoming show stashed in a safe place, it may also be worth bagging a programme as a souvenir. This year marks the 75th anniversary of the play’s first production at the Canterbury Festival of 1935. Additionally, the cast to perform Murder in the Cathedral at Christ Church in 1940 included the young Iris Murdoch.

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