The Marlowe is one of Cambridge's most historic societies, which, to this day, focuses on producing high-quality, innovative student drama.
The Marlowe Society was founded in May Term 1907 by a group of students including Justin Brooke. It became famous then because it was a reaction against Victorian theatre and tradition, including reviving the presentation of Shakespeare in Cambridge which had not been performed since 1886, and importantly raising the standard of verse-speaking by actors. Over the years since, it has met with remarkable success, maintaining these traditions and acting as a nursery of talent and reform.
Shakespeare's Troilus and Cressida was unperformed by actors and misunderstood by academics until The Marlowe Society's epoch-making production of 1922. In producing a series of plays by Webster and Ben Jonson we restored their work to the professional repertory. The same applied to our production of Marlowe’s Edward II in 1958; and in 1993 we staged Tamburlaine the Great (directed by Tim Supple) for the first time, in its original form, since the seventeenth century.
Other notable productions include a Duchess of Malfi in 1942 which induced Peggy Ashcroft to take the part in the West End, both productions by George Rylands; a White Devil and Measure for Measure which went to Berlin in 1948 in the air-lift as the Foreign Office’s cultural counter-attack to the Red Army Choir; John Barton’s Julius Caesar of 1952 which was acted with Elizabethan pronunciation; a Romeo and Juliet with Barton as Mercutio and Peter Hall as Tybalt which transferred to the Scala, where it was seen by Winston Churchill; Barton’s two parts of Henry IV with McKellen, Jacobi and a notable Falstaff by Clive Swift; the 1958 Edward II with Jacobi directed by Toby Robertson, which was broadcast by the BBC; Corin Redgrave’s production of Henry VI; Trevor Nunn’s Macbeth (1962), which transferred to a giant theatre in Newcastle; Griff Rhys Jones’s rumbustious production of Bartholomew Fair (1977); and Sam Mendes’s memorable Cyrano of 1988 starring Tom Hollander.
In the 1950s The Marlowe Society's achievements were recognised by the British Council which commissioned us to record the complete, uncut canon of Shakespeare poems and plays, under the direction of George Rylands, in time for the Centennial of 1964. The Observer described the recordings as 'the most important thing that has happened to [Shakespeare's] work since Heminges and Condell saw it through the press'. These recordings were distributed around the world, and indeed still sell steadily today.
At present there are several strands to the Marlowe's policy. The Society was founded to explore the Jacobethan repertoire, at that date unknown to the stage. To enable the exploration there was an emphasis on the necessary skills: verse-speaking, clarity and intelligence of direction and acting, the values of ensemble playing, and a corresponding lack of emphasis on scenic spectacle.
Over the years this has generalised as an interest in drama that stretches beyond ordinary realism towards the challenging and imaginative. Something deriving directly from performing at the Arts Theatre since 1936 has been the introduction of a professional dimension to student theatre at Cambridge. The stimulus of this last has perhaps been the single most important explanation for the phenomenal success of Cambridge actors and directors in British theatre.
The new century has brought with it new strands to the Marlowe's dedication to top quality drama, in the form of the promotion of new writing (including the successful Scriptlab series of workshops), and a new venture in 2004, Directorslab - allowing students the chance to work with professional directors on topics relevant to the theatrical world of today - an opportunity rarely available. Meanwhile, the Marlowe continues working to continue those traditions established decades ago - and looks forward to the society's centenary in 2007.