Edward II, by Christopher Marlowe, is considered to be one of the early British “history” plays, perhaps the first one. Like many of these plays (and Shakespeare would become famous for this genre), it portrays a turbulent time when a King, whose courtiers are plotting against him, missteps and invites invasion from his rivals (in this case, France – it always seems to be France – but also Scotland and Wales).

And, oh yes, the King is gay.

Contemporary productions have often focused on the gay part, jettisoning much of the political intrigue. Diversionary Theatre’s production tries to walk the line between the historical politics and the sexual politics and mostly it succeeds.

To pull off the largest scale production in its 25 year history, Diversionary has turned to Richard Baird, late artistic director of the Poor Players, a local company that specialized in producing Shakespeare on a dime. Mr. Baird does not disappoint: he populates the stage with several Shakespeare vets who know their way around precise diction and iambic pentameter, and he tells the story from the perspective of its original Medieval period (with costumes by Howard Schmitt). By doing so, he isn’t tempted to go overboard on either homoeroticism or homophobia, as he might had he set the play after Oscar Wilde had put the idea of being gay on the map.

To simplify the complex plot considerably, Edward (Ross Hellwig) is crowned king but his noblemen led by Roger Mortimer (John Polak) decide that he is too close to his favored friend, Piers de Gaveston (Dangerfield G. Moore) to govern wisely. The nobles force Edward to consent to Gaveston’s exile, but Queen Isabella (Alexandra Grossi), Edward’s unhappy French wife, persuades the nobles to bring Gaveston back, the better to find an opportunity to slay him. Upon Gaveston’s return, Edward showers him with titles, provides him with access to the royal treasury, and the two of them begin to be open about the fact that they are lovers. But, Mortimer and his men ambush and kill Gaveston, and begin a plot to depose Edward, a process that turns into civil war. Edward’s forces hold their own for a while, but eventually Edward is captured and killed in a particularly gruesome manner. His son, Edward III (Steve Smith) reluctantly ascends the throne but quickly gaining his footing, he executes Mortimer and his men for killing his father and locks Queen Isabella away in the Tower for her part in the revolt.

Working with a cast of fifteen on Diversionary’s wide but shallow stage is no mean feat. Mr. Baird doubles and triples roles for most cast members (who sometimes switch sides in the process, which can be a bit confusing), and he moves action diagonally across the width of the stage (Matt Scott did the scenic design; Michelle Caron designed the lighting). Most of the time this technique works, though the ambushes were never a surprise, due to the rustling of drapes as conspirators moved into position behind them. He’s coached his performers to speak their lines plainly and directly, a good choice, and he even manages to stage a credible battle scene (with fight choreography by Jeff Anthony Miller and Amber Bonasso serving as fight captain).

The production is fortunate to have Ross Hellwig in its title role. A graduate of the USD/Old Globe MFA program in classical theatre, Mr. Hellwig brings out the King’s contradictions but is particularly good at portraying his heroic elements. I bet he’d make a dynamite Henry V.

Of the supporting players, Mr. Polak is somewhat stolid as Mortimer, Mr. Moore is amiable at Gaviston, Ms. Grossi is better as the young queen than she is as the older one (her costumes are lovely, but her uncredited make-up doesn’t help), and Mr. Smith has the proper authority for the newly crowned Edward III, but audiences will have to suspend disbelief mightily to think of him as age fourteen. Poor Players veteran Jim “Doc” Coates contributes several memorable cameos, Max Macke agonizes well as Edward’s half-brother, and Noah Longton defies stereotypes as a boy-toy who knows his political strategy.

Speaking of stereotypes, Diversionary has come a long way from staging mildly titillating trifles aimed at a gay male audience. Its shows this season are substantive, directed by some of San Diego’s best talent, and are as likely to please straight audiences as they are gay ones. By doing such a credible job with a production on the level of Edward II, Diversionary has confirmed itself as being in the same league with the best small theatre companies in town. Edward II runs through October 2, and it deserves to be seen by people who take their theatre seriously.

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