Review: The Duchess of Malfi at Sam Wanamaker Playhouse

Photo Courtesy: Shakespeare’s Globe

Misogyny, murder, madness. Bagshaw’s production of The Duchess of Malfi has it all from start to finish. Currently running at the Sam Wanamaker Playhouse, perversion and horror permeate this Jacobean domestic tragedy. The production stays mostly true to the original text, letting  Webster’s  vivid and profound language speak for itself, yet a new dimension is added by Bagshaw as she brings the misogynistic values perpetuated by the play’s male characters to the forefront.

The intimacy of the candlelit theatre lends itself perfectly to the domesticity of the Italian court where the play is set, highlighting the secrecy and deception that eventually unravels as the play progresses. As the plot comes to a head, the actors begin to blow out some of the candles on the stage, which works brilliantly to accentuate the Duchess’ descent into despair and the claustrophobia of her imprisonment.

Creative captioning is used throughout the production, which is projected onto the back wall of the stage, making the play more manageable for those who may not be familiar with Webster’s, at times, complicated verse. The projected captions are not just used for accessibility, though, they function in a remarkably creative way as well. In a scene where ‘madmen’ attempt to frighten and derange the Duchess through sexist phrases too often heard today, associated with victim blaming and catcalling, the subtitles begin to overwhelm the stage until you can hardly pay attention to the actors anymore. The cacophony of violent masculine voices, alongside the hateful subtitles swamping the stage make for a disturbing yet truly impactful experience.

Francesca Mills, who plays the titular character, shows her incredible range as an actor in this role, adding depth to her formidable female character, instead of reducing her to solely a victim of her misogynistic brothers. Mills presents the Duchess’ relationship with her secret husband Antonio (played by Olivier Huband) with genuine affection, allowing for a fleeting moment of joy within this dark tragedy. However, Mills’ shining moment came when she spoke arguably the most famous words of the play- ‘I am Duchess of Malfi still.’ Mills’ presentation of the Duchess’ stoicism in the face of adversity and death is emotional, yet empowering to watch.

The role of Ferdinand, the Duchess’ cruel and perversely passionate brother is played by Oliver Johnstone, who brings an eerie normality to the Machiavellian character. The oscillation between brotherly affection and chilling barbarity is unsettling, and is a testament to Johnstone’s ability to step away from portraying Ferdinand as a simple archetypal villain. Jamie Ballad emphasises the cool detachment of The Cardinal effectively, and his apathetic response to the destruction him and his brother inflict is disturbing.

Bagshaw’s production accentuates the dark comedy in Webster’s tragedy for the most part sucessfully. However, modern references to ‘Botox’ and ‘dermal filler’ in Bosola’s (Arthur Hughes) misogynistic diatribe feels clumsy and forced into a script that does not need changing. The invasion of comedy into the final scene, when almost all of the male characters lie dead on stage, makes us almost forget about the brutality these men have inflicted on the female characters in the play. The absurdity of the scene is awkward and inappropriately funny, and so the horror that pervades the latter half of the play is almost diminished due to the bathos that intrudes at the last minute.

Bagshaw’s interpretation of The Duchess of Malfi is nevertheless striking in its originality and successful tailoring to a modern audience, whilst simultaneously retaining the authentic Jacobean theatre experience. This production highlights the timelessness of Webster’s tragedy, and its capacity to connect to audiences 400 years later.