Once a relatively obscure corner of Christopher Marlowe’s output, Dido, Queen of Carthage is now enjoying a renaissance on the London stage. This new version, directed by James Macdonald, is the third production in recent years and does an admirable job in showcasing a rewarding play at full length.

The plot is an adaptation of Virgil’s Aeneid and unfolds the relationship between Aeneas, the wandering Trojan hero, and Dido, an African queen. Mark Bonnar and Anastasia Hille (pictured), who take the leading roles, excel in this production, radiating passion for one another. Their portrayal of the headiness of this violent love affair is finely crafted and full of erotic piquancy, particularly in the scene where they shelter together from a storm.

When the play takes its tragic turn this has the effect of producing a terrible emotional climax as Aeneas is forced to leave by the Gods and Dido commits suicide. The immolation scene is particularly well directed, with Dido keeping the audience in silent suspense for several minutes as she builds her funeral pyre, and ritually washes herself before striking the fatal match. The effect is to personalise this grand act of tragedy making her declaration “I must be the murderer of myself” all the more chilling.

Aside from the leading actors the impressive thing about this production is the strength of the supporting cast. Ceallach Spellman as Cupid is deliciously mischievous and manipulative, providing lovely moments of comedy using his sweetness to get his own way with the adults around him. Siobhan Redmond and Susan Engel offer a catty duel between Venus and Juno, oozing poison from every compliment. The music is also beautiful and Jake Arditti’s counter-tenor singing is sublime.

There are still some difficulties with the production, in part caused by the structure of the original. The first scene with Jupiter and Ganymede feels a little remote from the main story, and the division of action between the Gods and mortals can be a touch difficult to follow, before they suddenly disappear in the last third.

Additionally, although the action doesn’t flag notably in any scene, the tempo doesn’t vary much. This means at three hours long, watching does demand commitment.

Overall this is a very good and welcome exploration of one of the lesser-known early modern plays. The focus is upon the emotional intensity of Marlowe’s plot, and his beautiful and stirring language rather than flashy effects. Well-acted, well-directed and moving this new version will entertain all, but will particularly delight the purist.

There are performances until Tuesday. Box office: tel 020 7452 3000