Accomplished production of rarely performed Marlowe play.

The Massacre at Paris. Photo courtesy of Playbox Theare.

The Massacre at Paris, presented by The Playbox Theatre, Friday 16 October 2026.

Review by Charles Essex.

A complete script of Christopher Marlow’s play The Massacre at Paris does not exist, so it is a tribute to The Playbox that they produced this rarely performed play and made it so engrossing.  The programme was essential to read beforehand to understand the plot, about the xenophobia of the Catholic hierarchy in 16^th Century France towards the Protestant Huguenots, leading to mass killings and then in-fighting among the royal family and their supporters. 

Photo courtesy of Playbox Theatre.

There were some outstanding performances, with Lucy Quirk giving Navarre, the Huguenot leader, a strong determination in the face of the onslaught, led by the murderous Guise (Conor Davis).  Conor had large amount of script, including soliloquies, which he delivered fluently, although the transverse staging meant that he was not always audible. Gracie Tomlin gave Catherine the Queen Mother a Machiavellian vindictiveness. 

Photo courtesy of Playbox Theatre.

Director Stewart McGill astutely guided the cast in key scenes. Isaac Hope was wonderful as Charles III, weak, indecisive and uncertain, depicting his anguish at the impending massacres, pleading for restraint.  He portrayed Charles’ guilt and torment well.  His death scene, and the earlier death of the Queen of Navarre (Arabella Saunders) from poison, were particularly well done without being exaggerated.

Photo courtesy of Playbox Theatre

After Charles’ death, his brother Henry (Hayden James Mulcock) became King Henry. In scenes reminiscent of his contemporary Shakespeare’s tragedies, Marlowe drew Henry into a spiral of murder, revenge and paranoia. Hayden was exceptional as he related Henry’s motivation, mixed with anxiety and anger, often with humour of dialogue or gestures.  Special mention must be made of Anna Chester’s exquisite singing of Latin incantations.

Photo courtesy of Playbox Theatre.

Punk leather costuming symbolised the aggressive Catholic forces and the more benign Huguenots wore regular clothing, which helped differentiate the ‘sides’.  The murders and battle scenes were cleverly and quickly enacted.  In what is a common Playbox style, there were the ‘heavy mob’ and weaklings who were being bullied, and loud thumping music, which clearly appealed to many in the full house, who were clearly peers of the actors.  This was a very accomplished performance and many of these young actors show real promise, which bodes well for the future.

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