‘We have to get the theatre into the church and Christianity into the theatre,” T. S. Eliot told a conference audience at Lincoln College, Oxford, in the summer of 1955. Neither ambition appears to have been fully achieved during the 55 years since. Indeed, productions of Eliot’s Murder in the Cathedral, whose 1951 premiere at Canterbury Cathedral began the tradition for theatre in holy places, are now something of a rarity.

Well done, then, to the Oxford Playhouse for last week’s fine revival of this great verse play in the compelling ambiance of incense-scented Christ Church Cathedral.

Those privileged to have seen it (the performances had sold out within hours) will surely look back on an evening of theatre at once thrilling, thought-provoking and profoundly moving.

The performance began even before we took our seats in the cathedral, as we were led through the cloisters by the 11-strong chorus of Women of Canterbury. Uniformly well-spoken ‘gels’ these, they delivered lines (as the author specified, sometimes together sometimes individually) that appeared to contradict this impression of gentle breeding. It was lovely to listen to, though — as was the specially commissioned music from composer David Allen and his 14 players.

Director Tom Littler achieved spectacular visual effects with his largely student cast, with the murder of Thomas Becket proving as affecting as it was horrific. Timothy Allsop (above) gave an entirely credible portrait of the troubled prelate, creating a genuine aura of holiness in showing us the saint-to-be.

Other notable performances included those of James Corrigan, Felix Legge, Basher Savage [sic and again sic] and Gabriel Vick as the archbishop’s tempters and, later, murderers.

The production was a credit to all concerned.