Striking terror in a riveting search for power

LITTLE, it appears, has changed over the centuries whenever or wherever an evil tyrant sets out to rule not only their own country, but also those of their neighbours, by power, cruelty and violence - all stimulated by greed.

Look back at more recent times across the previous 100 years to the Nazis, the spread of Communism for evidence. And further back to earlier conflicts involving European countries - but here it’s northern Africa and Asia that is the hotbed in Christopher Marlowe’s pulsating and provocative black comedy.

Written in the late-1500s, it is once again one of those RSC ‘blood fests’ in which Marlowe’s demonic main character is a mass-murderer - who at one stage is informed by his fellow kings-cum-generals that a lake is overflowing its banks following his order for all inhabitants in captured Babylon to be drowned!

Tamburlaine is a veritable man-of-war, a warrior born to wreak havoc as the ‘Scourge of God’ across large tracts of the Asian plains, and this legendary story is based on a real-life Timur - a famed warlord from a family of the nobility, who was of Turkic-Mongolian ancestry. He seized power locally before moving on to greater triumphs as he took control of land from Syria to India.

He is depicted here as a Scythian shepherd who rises to the rank of emperor with meteoric speed and an equally considerable lust for creating terror as he too carves out a vast empire.

Marlowe’s ‘hero’ made a great impact at the time and his play was the first big hit of the Elizabethan stage.

Tamburlaine’s threat to world order created numerous spin-offs and spawned claims from other countries about their authority whereby they attempted to prove their credentials through rhetoric skills and military power.

Director Michael Boyd, back with the RSC, ensures Marlowe’s creation is given due credence and it’s delivered impeccably by a cast in which there are no obvious weaknesses. A wonderful team effort.

Originally five acts, its offered here in almost two equal halves for one play of three-and-a-half-hours duration, including an interval. Long, but never dull because it is so vivid and has the brilliant Jude Owusu at its epicentre. Convincing, captivating and cultured delivery he makes Marlowe’s words dance with power.

All the hallmarks in evidence that he could a big name of the future with the RSC and beyond.

Boyd’s creativity, with crashing drums and cymbals adding to the dramatic effect, brings the best out of everyone on stage with some updating of the original and subtle hints of modernity.

Rosy McEwen is beautifully regal, almost ethereal, in movement and loyalty as Tamburlaine’s queen Zenocrate, but on her death she is transformed into the Turkish emperor’s son, Callapine, desirous of revenge. Double delight!

Mark Hadfield too takes our minds off all the horror with a welcome intervention of comedy. Firstly as the cowardly figure of a Persian king Agydas, and his other roles of King of Arabia and Orcanes, trying not to miss a trick to survive, as does James Tucker’s portrayal in a quartet of roles including the delightfully subservient Meander.

Debbi Korley also impressed as Zabina and King of Syria and so too Tamburlaine’s main followers, his right-hand henchmen Techelles (David Rubin) and Usumcasane (Riad Richie).

There is strength in depth all around.

There’s spectacular cruelty, touching tenderness and loyalty and also salutary lessons in the search for power that should provide plenty of thought for today’s oppressors, world leaders and the general population.

All totally and utterly riveting…