A play which revolutionised Elizabethan theatre only to become quickly outmoded, is suddenly relevant and vital again in this new production by Michael Boyd with a commanding title role performance by Jude Owusu.
In terms of 1587 box office Tamburlaine was The Empire Strikes Back of its day. Its violent cruelty thrilled, and its popularity had the ruling elite worried by the lowly origins of its all-conquering protagonist, just as The City today is concerned by the populism of Jeremy Corbyn.
With blank verse of genius Marlowe introduced beautiful and dramatic imagery, tighter plotting and greater depth, and revealed an ultra-violent, passionate and distant world. Other playwrights continued his refinement of drama, and soon even his mould-breaking model seemed overstated. Tamburlaine dropped from view and revivals are rare.
So how does Michael Boyd breathe life into it? Firstly with ravishing verse speaking – an essential for a director returning from the heyday of the RSC, energising performances and understanding. The two separate plays: Tamburlaine Parts I and II have been melded into a single 2hrs 55mins.
The violence – and there is a great deal of it – has been contained. The dead are ritually anointed with blood brushed from a bucket, and the darkness and slaughter are channelled into a truly chilling culmination, all the while stirred by James Jones edgy percussion score.
The historical Tamburlaine (1336-1404) was born in Samarkand, Uzbekistan, Modest beginnings as a sheep-rustler and bandit led to a military command. He captured north-east Iran, and hacked out an empire in his own name stretching from Russia to India. Treacherous and utterly ruthless he died from natural causes whilst attempting the conquest of China
The sheer scope and speed of Marlowe’s happenings defy precis but the programme’s detailed synopsis is recommended. The cast give the best overall RSC performance for years, rising brilliantly to the multi-roles created by the death toll. To spotlight just a few outstanding characterisations: there’s Mark Hadfield as a fey Persian emperor, David Sturzaker as his plotting, self-preening brother, Sagar I M Arya as a caged but unbowed Turkish ruler and Debbie Korley as his equally defiant empress.
As Tamburlaine, Jude Owusu initially attracts with a confidence and irresistible power of will that vanquishes crowned villains. But his dominant physical presence soon swells with every battle won, act of treachery, massacre and humiliation inflicted. As a vestal virgin pleads for her life he stands monumentally erect and unmoved, his expression evolving miraculously to one of a megalomania which denies even divine authority.
As early disenchantment confirmed, Tamburlaine is a play that comes at you fast and very long, heavily laden with event and imagery. Even in Michael Boyd’s version, patience and concentration occasionally need prompting. Yet as the action concludes on a bare stage with a whip-cracking Tamburlaine driving a chariot drawn by captive kings, a mesmerizing vision of Hell is created, a Hell on Earth that can only occur when abuse of power goes unchecked.
★★★★☆ Derek Briggs 27th September 2018
