Tristan and Yseult
Carl Grose and Anna Maria Murphy, adapted by Emma Rice
Kneehigh/Emma Rice production, with York Theatre Royal, Nottingham Playhouse
Theatr Clwyd
September 22-26, 2026; 2hrs
(also at York Theatre Royal, April 6-17, 2027)
The choice of Love Hurts as one of the opening songs of Tristan and Yseult is entirely appropriate, you might think. Love hurts quite literally, according to the medieval Tristan and Isolde myth, especially when you fall in love with someone other than your intended.
The return, for the first time in a decade, of Emma Rice’s 2003 adaptation of the story, follows this line faithfully, but there is so much more to it than that. Some stellar acting and much imagination resulted, and still results, in a groundbreaking piece of theatre.
The story has its roots in Cornish and Celtic legend, but the setting here is fairly amorphous; attitudes seem true to the original, but the set, language and costumes are more modern. Tristan is sent on a mission by Mark, the despotic ruler of Cornwall, to find Yseult, the sister of a vanquished Irish invader, Morholt. As a statement of supremacy he intends to marry her, but as Tristan and Yseult travel back to meet him, they ingest a love potion and are passionately attracted to each other.
Can they hide their love from Mark? How dire will the consequences be once he finds out they have been unfaithful?
The cast is, in general, excellent. All appear as "love spotters" when not playing their designated parts, demonstrating Rice's well-directed teamwork. The leads, John Leader as Tristan and Nandi Bhebhe as Yseult, have great chemistry. Tom Fox was highly energetic and entertaining as Morholt, and as Brangian, Yseult’s maid, while Matthew Churcher as Frocin offers a painfully jealous persona while showing great agility as Mark’s enforcer.
This is an entertaining, absorbing piece of theatre, with a lovely twist of humour. That is some achievement, as the story portrays the violence that ensues when the will of a monarch is the law of the land and all dissent is punished severely. The production doesn't shy away from this, but softens it by making fight scenes quite balletic, refusing to use graphic violence.
There is a moment of pathos, when Brangian takes Yseult’s place on her wedding night to the king ensure a virginal issue of blood in the morning, thus hiding the affair with Tristan. But it is just a matter of time before betrayal in a marriage is uncovered. The reaction to this betrayal is a central theme of the play. How do you react when you have been cheated? Forgiveness or revenge?
Despite the serious nature of the issues, this is a wonderful night of entertainment. All aspects of the production are thoroughly well thought-out, showing a rare depth of creativity. The show captivates, such that the standing ovation is richly deserved.
