‘Tis Pity She’s a Whore at Sam Wanamaker Playhouse

29^th October 2014

Yassine Senghor

Yassine Senghor

29 October 2014

Sam Wannamaker Playhouse provides a suitably ambient stage for John Ford’s ‘Tis Pity She’s a Whore. The heavily wooden theatre, lit solely by candlelight, and the proximity to both actors and theatregoers allows you to immerse yourself in the performance – the traditional way the play might have been seen when written. Ford, a contemporary of Shakespeare, tackles the key incenstual love story, which even now proves shocking, with convincing tenderness.

The textual adaptation and directorial choices not only make the language accessible, but also the era and culture in which the play is set. The occasionally wild use of flame in the wooden theatre adds to the precarious nature of the relationships between the characters. The snuffing of the chandeliers to establish time changes, and use of them as lighting cleverly creates different locations on what is otherwise a relatively bare stage. The costumes are vibrant and bold, using textures, patterns and colours to modernise the authentic historic garb. The cardinal’s sanctimonious red robes are given an update with shimmering red sequins, and the servant Vasquez and his henchman wear creased bomber jackets, which still somehow feel accurate.

The cast are formidable. James Garnon’s brilliant comedic timing and facial expressions in both his portrayal of Bergetto and the cardinal, as well as the very amicable friendship with Dean Nolan’s Poggio, his manservant, add perfect comic relief. Max Bennet begins somewhat muted as the lovelorn Giovanni, but this serves as the perfect launching pad for when that love overcomes him and he becomes the impassioned maddened murder. Phillip Cumbus as the honest servant is authoritative in his performance, often drawing your attention and linking scenes smoothly. Fiona Button’s Annabella is funny, self-aware and ultimately self-sacrificing, in the rapid maturing of her character and her understanding of love. She goes from a naïve and idealistic child to a woman who recognises that she must make the hardest of choices in order to protect that love. Noma Dumesweni’s portrayal of Hippolita as a woman scorned is passionate and even grotesque by comparison, driven into the darkest recesses of her ardour, and eventually to her demise.

The play ends with the whole cast performing a choreographed dance, which brings back some lightness from the bleak and macabre close. It ensures that you leave the theatre on a more light-hearted note, but give you ample chance to reflect on all that has passed.

Yassine Senghor

‘Tis Pity She’s A Whore is on at Sam Wanamaker Playhouse until 7^th December 2014, for further information or to book visit here.