Following the death of Edward I, widely esteemed for his strong governance, a power play develops between Edward II and the nobles. The king, driven by impetuous emotions, favours personal relationships over political expediency. This raises the hackles of the powerful elite around him, whose concern is to defend their own authority. As the nobles’ threats of insurrection become more real, the disaster that is yet to come is brilliantly anticipated.

At the centre of their antipathy is the king’s relationship with Gaveston, a man whom the higher social orders regard as base and obscure – and even worse, a French man. Daniel Evans’ portrayal of the king as a man deeply in love, to the extent that all else including his queen is put aside, is a tremendous performance. His face, set alight by the sight of Gaveston, tells us of his passionate nature, whilst his body language reveals the intimacy of their affair.

Whilst the relationship between Edward and Gaveston is central to the play, there are many reminders of the fluidity of sexuality and of the flux in attitudes over time. As Mortimer’s response shows, when attention is brought to homosexual relationships in classical history and mythology, his objection to Gaveston is because he is low-born, and yet he is given advancement by the king.

Battle scenes within Marlowe’s text have largely been cut, the only reference to war being a brief glimpse of nobles gathered around a television following a news announcement of conflict with France. The decision to focus the production on jaw not war allows for the growing tension between the protagonists to be fully explored. This is supported by musical accompaniment which is climactic at key points.

Despite the absence of battles, this is nonetheless a bloody piece, with set and staging adding many effects. An invitation to the audience to process around the coffin of Edward I at the start sets the scene for what is to follow, and also provides a chance for a close-up view of the stunning replica of Westminster Abbey’s floor.

The slaughter of Gaveston is truly brutal, bringing to mind images of the horror of lynchings. The infamous and sadistic end of Edward is handled superbly, red-hot poker in full view. But the moment at which his body is carried off stage is a moment of pure tenderness, and the illusory nature of his power laid bare.

Daniel Evans brings all too human qualities to the role of Edward II, whilst Enzo Cilenti as Mortimer grows in front of our eyes in his arrogance and ambition. Gaveston, played by Eloka Ivo, is a disruptive threat to the status quo, whilst Ruta Gedmintas, tall, willowy and with a steely gaze, brings shades of other first ladies to the role of Edward’s queen, Isabella.

At one hour forty minutes without an interval, this production of Marlowe’s stage play is absorbing, thoughtful and superbly staged.

Edward II was directed Daniel Raggett. Set and costume design was by Leslie Travers. Lighting designer was Tim Lutkin. The composer was Tommy Reilly and sound design was by Tingying Dong.

It’s on at the RSC’s Swan Theatre until 5th April. For further information visit rsc.org.uk