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steveatwaywords's review
adventurous
challenging
dark
emotional
reflective
sad
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.25
Anouilh takes the historic murder of Becket and focuses it upon the imperative of two friends, one who despite expectations outgrows his own nihilism, and the other who fails to grow at all. Place these two in spaces of feudal power, asks questions of medieval faith, and we have a play that speaks in unexpected directions, despite anyone's historical background or interest.
It might be more difficult in the reading of this fast-paced work to appreciate some of the moments of intensity--we are accustomed to wait for swordplay and one-liners (both are here)--that truly power this drama: a moment in a bedroom where Becket mutters, a miscued word by the king, the second half's occasioned and ironic dialogue with the Lord Christ, the words not dared spoken at all. An adept staging reveals them as Anouilh undoubtably envisioned.
Yes, questions of loyalty, friendship, love, codes of honor, politics, devotion to God -- any of these could make a fine drama in and of themselves, but Anouilh weaves them all masterfully. What is more, the historical mistakes are retained for the sake of this drama. (For instance, Becket was far more likely a Norman than Saxon, which would unbalance much of this work's dramatic element.)
And for me, the too-brief dramas of the minor characters speak most powerfully of all of it: The Queen, Gwendolen, the Monk, all in some way casualties of this tragic misadventure between men who love.
It might be more difficult in the reading of this fast-paced work to appreciate some of the moments of intensity--we are accustomed to wait for swordplay and one-liners (both are here)--that truly power this drama: a moment in a bedroom where Becket mutters, a miscued word by the king, the second half's occasioned and ironic dialogue with the Lord Christ, the words not dared spoken at all. An adept staging reveals them as Anouilh undoubtably envisioned.
Yes, questions of loyalty, friendship, love, codes of honor, politics, devotion to God -- any of these could make a fine drama in and of themselves, but Anouilh weaves them all masterfully. What is more, the historical mistakes are retained for the sake of this drama. (For instance, Becket was far more likely a Norman than Saxon, which would unbalance much of this work's dramatic element.)
And for me, the too-brief dramas of the minor characters speak most powerfully of all of it: The Queen, Gwendolen, the Monk, all in some way casualties of this tragic misadventure between men who love.
Content Warnings
Moderate: Death, Violence, and Suicide
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