The Duchess [of Malfi] review – a woman that defies rules in a concept that falls short

As a seasoned theater-goer with an affinity for both classic and modern productions, I must admit that my anticipation for Jodie Whittaker’s return to the West End was palpable. With her stellar performance as The Doctor in Doctor Who, I was eager to witness her portrayal of another strong, unconventional female character in The Duchess of Malfi.

The return of Jodie Whittaker, known for her role as Doctor Who, to the West End is marked by “The Duchess [of Malfi]”, where she portrays a character who challenges societal norms, however, the production’s idea doesn’t quite meet expectations.

Here at the Trafalgar Theatre, Zinnie Harris skillfully reworks and directs a modern retelling of John Webster’s tragic story.

In the initial setting, we meet Whittaker, the noblewoman in question, dressed in crimson, exuding seductive charm as she serenades love through a microphone. Recently bereaved, she’s assertive, liberated sexually, and independent – however, this freedom is short-lived.

The Duchess secretly became engaged to Antonio, a man below her social standing, without informing her siblings. However, their joy as a pair didn’t last long as her brothers discovered the union and hatched a plan to retaliate, ultimately causing severe consequences for her.

In this production, while Whittaker is listed as the main actress, the play is more of a collaborative effort among all characters. Interestingly, some other characters seem to have more dialogue and screen time compared to her. However, Whittaker’s acting is remarkable and multifaceted – her character leaves an impact in every scene she appears, transitioning from a tall, unapologetic demeanor to a hunched, heart-wrenching portrayal of pain as the story unfolds.

In a natural and easy-to-understand manner: Joel Fry, who stars in Cruella, portrays Antonio, the bookish servant and newlywed husband with a mix of sincerity and humor, constantly amazed at how he ended up with such a great catch. The contrast between their happiness and the two brothers, who appear different on the outside but share a sinister resemblance, is striking.

Rory Fleck Byrne, the Duchess’s twin, is portrayed as a flamboyant and volatile individual with a troubling internal conflict and an inclination towards dominance. This character trait was substantiated when he threatened his sister in a disturbing manner, waving a knife near her private area.

In the meantime, Paul Ready portrays The Cardinal in a remarkably wicked manner, his ecclesiastical attire adding an element of surprise to his manipulation and lewd behavior towards others. This is especially true when he’s with his mistress Julia, played by Elizabeth Ayodele, where the mix of shock and humor is particularly pronounced.

Despite the strong performances by the actors, the overall production falls short. The confusion lies in determining the specific time period or location because certain aspects don’t seem to fit together coherently.

As I step into this game, the setting is stripped down yet striking. A monochrome palette of greige dominates, contrasted by a sleek, white iron balcony that resembles a modern, sterile psychiatric ward. The cage-like sliding panels hint at an institutional atmosphere, creating an eerie, clinical vibe.

The play starts off with contemporary-style titles, music, and dialogue that resemble a well-known piracy ad’s typography. However, the characters wear old-fashioned costumes, there’s an intricate plot, and one character uses formal language – giving the impression that the story unfolds in a bygone era, despite the modern touches.

In the 1950s style outfits, the women stroll about, while on stage, Jude Owusu delivers enigmatic riddles and heartfelt soliloquies, fitting for the play’s authentic Jacobean atmosphere.

In contemporary society, issues like women’s rights and patriarchal power dynamics remain significant and relatable. However, this forward-thinking Duchess is tormented by her family to confess to an adulterous act – a crime that, thankfully in our times, no longer carries the death penalty or the devastating social ruin of past eras.

In the end, there’s the matter of the singing, which in Act One – featuring a solo guitarist (Hannah Visocchi) – seems to make minimal contributions to the story and appears as if it’s been included specifically to facilitate the female choir in Act Two. At this point, puzzlingly, the bassist joins the play without explanation.

In the last several acts of the play, despite the ambiguity surrounding the context, the intense actions grab everyone’s focus completely, and the minimalist stage setup effectively avoids competing with the actors’ performances by not offering any distractions.

It seems quite plausible that a more targeted strategy throughout the production of “The Duchess [of Malfi]” by Harris could have transformed it from an ordinary tragedy into a resounding success as a whole.

As a gaming enthusiast, here’s how I might rephrase that in a first-person style:

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2024-10-18 22:19