The Duchess of Malfi at Sam Wanamaker Playhouse
Staged as part of the Sam Wanamaker Playhouse tenth anniversary, The Duchess of Malfi was the first play to be showcased at the unique candlelit theatre. Jacobean playwright John Webster’s timeless tragedy is brilliantly portrayed, and as pertinent as ever.
Opening onto scenes of revelry, it’s a misleading prelude of what’s to come. The Duchess (played excellently by Francesca Mills) is recently widowed, and quite content remaining so. Domineering twin brothers Ferdinand (Oliver Johnstone) and the Cardinal (Jamie Ballard) oppose her remarriage, placing Bosola (Arthur Hughes) in the courts to spy. The Duchess quickly becomes enamoured and betrothed to her steward, Antonio (Olivier Huband.) Mills in particular brings great humour to these scenes, offering a preview of some very amusing parts later delivered wonderfully by the ensemble. When the Duchess soon falls pregnant, Bosola continues to infiltrate, unable to detect the father of the unborn child. Twins follow in the coming years, and still – surprisingly – Antonio remains undetected. Webster utilises secrecy and deception to carve out the acts, whereby the Duchess sends her husband to Ancona, under a guise of feigned disgrace.
Ferdinand becomes increasingly unhinged, intending to murder, and cause his sister all the grief he can, while the Cardinal abuses his lover’s interest under an air of religioisity. Webster’s characters are relatable, embodying both moral corruption and a desire for redemption. However, it is not all seriousness; there are many sarcastic asides and comical comebacks that have the entire gallery in fits of laughter.
The play has come full circle and is a triumph in this beautiful space. As the only candlelit theatre in the UK, the playhouse contains approximately 100 beeswax candles for each performance. Tonight’s production sees the actors holding candelabras amidst the descending chandeliers, which provide atmospheric change through ignited and snuffed-out flames: an intimate setting for an intimate play. Live music comes from a four-piece and complements for the most part with jazz sequences. There is a lot of cast inclusivity here too: with director Rachel Bagshaw herself a wheelchair user, it’s refreshing to see the major role of the Duchess portrayed by a small person, and Bosola also being characterised by Arthur Hughes, who has radial dysplasia.
Radical, funny, tragic and altogether still topical more than 400 years later, Webster’s play is highly progressive, with a fully-fledged determined female character at its forefront. Like a game of chess, the characters are continually trying to one-up each other, but at the core, the Duchess remains a determined woman with undying integrity.
Fear of female sexuality and autonomy play an integral part, upheld by patriarchy and misogyny, giving rise to murder. Violence against women has not waned through time, and both gender dichotomies and the abuse of male power reignite Webster’s tale, maintaining its relevance through the ages.
Selina Begum
Image: Marc Brenner
The Duchess of Malfi is at Sam Wanamaker Playhouse from 29th February until 14th April 2024. For further information or to book visit the theatre’s website here.
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