A revival of T. S. Eliot’s 1935 play "Murder in the Cathedral" is currently drawing attention for its distinctive production and the involvement of Sir David Suchet in the lead role. The play dramatizes the martyrdom of Archbishop Thomas Becket, who was killed in Canterbury Cathedral in 1170 AD after defying King Henry II. Suchet, widely recognized for his portrayal of Agatha Christie’s detective Hercule Poirot, takes on a markedly different and demanding role as Becket, a character torn between spiritual conviction and worldly fear.
The production, directed by Tom Littler, is notable for its unusual setting: it is staged inside St John the Divine Church, enveloped in incense and punctuated by bell chimes, creating a solemn and immersive atmosphere reminiscent of ecclesiastical ritual. This setting, combined with the use of liturgical robes and ceremonial elements, contributes to both the reverence and intensity of the experience.
Suchet’s portrayal has been described as imbued with a quiet saintliness and humility. As Becket ascends the pulpit in the second act, he embodies a man struggling with the weight of his impending martyrdom and the moral complexities surrounding his decisions, particularly the fear of committing “the right deed for the wrong reason.” For Suchet, who is known for his devout personal faith, this role offers a unique opportunity to explore priestly qualities without taking holy orders.
Critics acknowledge that the play itself poses challenges for audiences, combining dense theological themes, modernist poetry, and elements of Greek tragedy. Some viewers, especially those without religious backgrounds, may find the ceremonial aspects—complete with incense, bells, and a kettle drum—difficult to engage with, while some believers might feel uneasy about the use of sacred rites in a theatrical context.
The production’s staging choices create a striking contrast between medieval and contemporary imagery. Characters sent to tempt Becket enter through a neon-lit portal on the High Altar, evocative of science fiction, before reappearing as his assassins dressed in modern black leather and polo necks. The lighting, designed by Peter Mumford, has been compared to that of a rock concert, adding a sense of drama and portent to the narrative. Additionally, a chorus portraying the “Women of Canterbury” performs monophonic plain chant composed by Orlando Gough, lending the play a haunting sonic backdrop.
The revival has proven popular, with tickets sold out and audiences drawn to this rare and ambitious interpretation of Eliot’s work. While it may be regarded more as an arcane and solemn hagiography than a conventional tragedy, the production’s combination of theatrical innovation, historical gravitas, and Suchet’s performance offers a memorable and thought-provoking experience for theatergoers.