The Guardian’s call to re-read and honour Christopher Marlowe is welcome (Editorial, 29 August). But in Canterbury, his birthplace, that work was already done and misrepresented by the Guardian’s review last year. In 2022, I produced The Marlowe Sessions: the first complete performance and recordings of his plays in over four centuries, staged at the King’s School, where Marlowe studied, with award-winning actors, immersive spatial audio and high‑definition filming.
This was no vanity project but a bold, community-rooted undertaking in the shadow of the pandemic, paying above-union rates to dozens of creatives when work was scarce. Audiences embraced it, some travelling from abroad. Yet London critics dismissed the effort with inaccuracies and inconsistency: this article laments the absence of Marlowe on stage while the same publication denigrated the only serious large-scale revival, ever.
