Murder in the Cathedral by T.S. Eliot, Directed by Craig Hutchison
Murder in the Cathedral by T. S. Eliot is a dramatization of the murder of the Archbishop, Thomas Becket by four Knights working for King Henry II. It is based on historical fact, legend, tradition, and dramatic license.
Although Henry does not appear in the show, he and Thomas were great friends who went hunting, drinking, wenching (and who knows what else!) together. Henry made Thomas Chancellor of England, an extremely powerful position at the time. As Henry's "right hand man," Thomas pretty much saw to it that ways were found to give Henry what he wanted. Then, upon the death of the Archbishop of Canterbury, Henry decided to make Thomas ALSO the Archbishop of Canterbury. This would unite in Thomas the two most powerful positions under the King. Thomas begged Henry not to do this. We are not privy to just why Thomas was against this move, but Henry, being Henry, swept aside his friend's concerns and made him archbishop.
Then the problems began.
This was a time when the church, as in the Roman Catholic Church, was THE religious power in England. Any accusations against clergy were dealt with by ecclesiastic courts NOT the civil courts, regardless of what crime was laid against them. Becket, as Archbishop had to defend this situation -- and did so with a vengeance. Where he had found ways to circumvent this arrangement when he was Chancellor, this was now a different picture. Naturally, this did not please Henry. The King was further enraged when Becket determined that he could no longer serve in both positions and, summarily resigned the position of Chancellor. Henry's anger became such that Becket, still as Archbishop, fled to France for seven years before returning to England to face the situation.
It is here that the play begins.
Upon his return to Canterbury, Thomas is visited by four "Tempters." The script is not clear whether or not these Tempters exist in reality or only in Thomas' mind. (As it will "work" either way, we have chosen to portray them as only in Thomas' mind. There is NO physical contact between Thomas and any of the Tempters. If the audience wishes to believe they are real, I have no objections, but that would raise some questions perhaps best ignored!) Eventually, four Knights appear to deal with Thomas and try to convince him to yield to the wishes of the King. Thomas remains steadfast in his standing for what he believes is the right thing to do -- regardless of the consequences. The Knights leave, only to reappear and this time armed with swords and intent on following what they believe to be the wishes of the King. (The tradition has it that Henry and the Knights were drinking and Henry is supposed to have said, "Will no one rid me of this meddlesome priest?" Whatever Henry's intentions really were, the Knights took him at his word and proceeded to go to Canterbury where they subsequently killed Thomas Becket, Archbishop of Canterbury in the Cathedral Church.)
What Eliot has done is to take a group of women and cast them as the "Women of Canterbury." They serve, essentially, as a Greek Chorus for the play. They see everything, they comment on everything, but are, by and large, ignored by everyone. Only Thomas and one of the attending priests ever actually refer to them.
Then, following the murder, the Knights do something highly unusual and break the "fourth wall" concept by coming forward and directly talking to the audience in an attempt not to justify, but to explain why they have done what we have just seen them do.
Three Performances Only
Friday, 16 November at 8:00 p.m.;
Saturday, 17 November at 8:00 p.m.;
and Sunday, 18 November at 3:00 p.m.
Tickets:
Suggested Donation of $18.00 at the door.
At Church of the Resurrection
117 East 74th Street
New York, NY
(Between Park and Lexington)
Although Henry does not appear in the show, he and Thomas were great friends who went hunting, drinking, wenching (and who knows what else!) together. Henry made Thomas Chancellor of England, an extremely powerful position at the time. As Henry's "right hand man," Thomas pretty much saw to it that ways were found to give Henry what he wanted. Then, upon the death of the Archbishop of Canterbury, Henry decided to make Thomas ALSO the Archbishop of Canterbury. This would unite in Thomas the two most powerful positions under the King. Thomas begged Henry not to do this. We are not privy to just why Thomas was against this move, but Henry, being Henry, swept aside his friend's concerns and made him archbishop.
Then the problems began.
This was a time when the church, as in the Roman Catholic Church, was THE religious power in England. Any accusations against clergy were dealt with by ecclesiastic courts NOT the civil courts, regardless of what crime was laid against them. Becket, as Archbishop had to defend this situation -- and did so with a vengeance. Where he had found ways to circumvent this arrangement when he was Chancellor, this was now a different picture. Naturally, this did not please Henry. The King was further enraged when Becket determined that he could no longer serve in both positions and, summarily resigned the position of Chancellor. Henry's anger became such that Becket, still as Archbishop, fled to France for seven years before returning to England to face the situation.
It is here that the play begins.
Upon his return to Canterbury, Thomas is visited by four "Tempters." The script is not clear whether or not these Tempters exist in reality or only in Thomas' mind. (As it will "work" either way, we have chosen to portray them as only in Thomas' mind. There is NO physical contact between Thomas and any of the Tempters. If the audience wishes to believe they are real, I have no objections, but that would raise some questions perhaps best ignored!) Eventually, four Knights appear to deal with Thomas and try to convince him to yield to the wishes of the King. Thomas remains steadfast in his standing for what he believes is the right thing to do -- regardless of the consequences. The Knights leave, only to reappear and this time armed with swords and intent on following what they believe to be the wishes of the King. (The tradition has it that Henry and the Knights were drinking and Henry is supposed to have said, "Will no one rid me of this meddlesome priest?" Whatever Henry's intentions really were, the Knights took him at his word and proceeded to go to Canterbury where they subsequently killed Thomas Becket, Archbishop of Canterbury in the Cathedral Church.)
What Eliot has done is to take a group of women and cast them as the "Women of Canterbury." They serve, essentially, as a Greek Chorus for the play. They see everything, they comment on everything, but are, by and large, ignored by everyone. Only Thomas and one of the attending priests ever actually refer to them.
Then, following the murder, the Knights do something highly unusual and break the "fourth wall" concept by coming forward and directly talking to the audience in an attempt not to justify, but to explain why they have done what we have just seen them do.
Three Performances Only
Friday, 16 November at 8:00 p.m.;
Saturday, 17 November at 8:00 p.m.;
and Sunday, 18 November at 3:00 p.m.
Tickets:
Suggested Donation of $18.00 at the door.
At Church of the Resurrection
117 East 74th Street
New York, NY
(Between Park and Lexington)