“A bold and evocative revival of a classic text.”
At Oxford Playhouse, Murder in the Cathedral by T.S Eliot returns to the stage in a production directed by Simon Tavener, with Assistant Director Vicky Wild. Originally written in the 1930s against the backdrop of rising fascism, Eliot’s retelling of the final days of Thomas Becket remains a weighty and reflective piece, though here it provides a challenging and at times uneven theatrical experience.
This is a production defined by language and dialogue. With Eliot’s dense, heavily inspired verse dominating the current script, extended monologues and philosophical exchanges drive the narrative rather than physical movement and action. The Archbishop, played by Nick Fyson is at the centre of the play, delivering long, intricate speeches that demand sustained focus. While some of the old language can feel inaccessible and occasionally lose clarity for a modern audience, the performance itself is strong. Nick Fyson brings a commanding presence and vocal authority to the role, grounding the text and giving emotional weight to Becket’s internal conflict.
A range of voices shape the Archbishop’s journey, from the four Tempters to the priests and later the Knights. Each Tempter is subtly distinguished through lighting with individual colour beams that help define their presence and influence. However, it is the Women of Canterbury who leave the most lasting impression. Their repeated phrase of “living and partly living” becomes a haunting theme, reinforced by their constant presence on stage.
The production’s most striking element is its use of choral music. The choir appears several times throughout, delivering church hymns that are both powerful and immersive, adding a rich spiritual atmosphere. Lighting is used effectively in key moments, particularly in the Archbishops’ final scenes, where bright white light paired with the pale costume creates an almost angelic martyr image before his death. Staging is minimal but functional. A large suspended cross dominates the set, reinforcing the play’s central themes of faith and sacrifice, while simple seating lines the stage for the women. This stripped back approach allows the language to take precedence, though it can leave the production feeling static at times.
Costume design, however, is less cohesive. While the clothes worn by the women and priests effectively evoke the period, other choices feel odd with the setting. The Archbishop’s initial appearance in a hoodie and jeans is particularly jarring, briefly pulling the audience out of the 12th-century world before transitioning into more traditional attire. Similarly, the Knights’ camouflage costumes create a disconnect that sits uneasily alongside the otherwise historical tone, making it unclear whether a modern reinterpretation is being fully realised.
Despite its inconsistencies, the production offers moments of genuine impact, particularly through its choral work and central performance. However, the density of the text and conflicting stylistic choices make this a production that is more intellectually engaging than emotionally absorbing.