Tag Archives: Paul Ready

“The Duchess [of Malfi]” at the Trafalgar Theatre

It’s hard to add to a Jacobean tragedy – they are already… extra. Zinnie Harris, who has adapted and directed John Webster’s revenge play, gives it a good go. There are flaws here, but also lots of ideas. It’s a blunt, brisk affair, but always interesting.

Webster took a character as his title, and the production boasts a star in the lead. Jodie Whittaker, playing the recently widowed noblewoman who falls in love with her steward, is great and clearly relishes the show’s intensity.

Harris, however, focuses on her ensemble and the result is mixed. Decisions will fascinate those that know the original play – who kills who is tweaked – but run the danger of being confusing. Harris senses the problem and projects character names on to the stage. This help is welcome, but it feels as if the action is being set up for too long. There are benefits to giving each character their due. The theme of servitude comes into focus: the hired killer, Bosola, and Cariola, the maid, are highlighted and Jude Owusu and Matti Houghton, who take these roles, really shine. Romance also does well: Joel Fry’s Antonio (another servant) is appealing and is given more to do than in the original.

The cutesy chemistry between Whittaker and Fry is odd, but effective. We feel for both when it comes to their separation. As for the punishment the Duchess suffers – for her secret marriage and children – the production is appropriately horrific, albeit effortful. Of course, scenes of torture are going to be difficult to watch. But surely discomfort needn’t come from the sound design. When the Duchess is deprived of sleep by the playing of loud noise, the production becomes – literally – painful.

Things get better. Bringing the Duchess, and other characters who suffer a similar fate, back the stage as ghosts is a great move – suitably spooky and leading to more fine moments from Whittaker. The trouble is that your ears might still be ringing.

Not all of the production’s problems down to Harris. Updating the language to use a lot of expletives is brave and forceful. It’s a shame it results in a lot of giggles from the audience. But the biggest issue is Webster’s villains – the Duchess’ brothers. Paul Ready, as the Cardinal, is effectively repulsive (and the twist on the murder of his mistress a stroke of genius). But emphasising the character’s knowing hypocrisy makes the role flat. It’s even worse for Ferdinand, who is simply a psychopath. Rory Fleck Byrne is good in the role (he is genuinely scary) but there’s too little descent into madness and the insanity is extravagant. With so many changes to the play, why keep the idea of him being a werewolf? Of course, it’s tough to take the brothers’ warped justifications and outrage over their sister seriously. But Harris doesn’t even allow us to entertain their reasoning and loses too much tension as a result.

Until 20 December 2024

www.theduchessplay.com

Photo by Marc Brenner

“Measure For Measure” at the Young Vic

It requires a director as bold as Joe Hill-Gibbins to revel in the oddness of Shakespeare’s ‘problem’ play. Taking licence with the tragi-comic text and its complex moral questioning, this production is radical in the true sense of the word: a far-reaching, thoughtful interpretation that strips it of context and relies on emotional realism.

On the Saturday matinee I attended, Ivanno Jeremiah was unable to perform as Claudio, so first a big thank-you to Raphael Sowole, who stepped up and allowed the show to go on. It’s not ideal conditions but one absence did little to detract from how forthright Hill-Gibbins’ vision is. And, besides, the supernumerary cast of sex dolls more than manages to fill the stage.

That’s right – inflatable sex dolls, which are inevitably what the production will be remembered for. This is a shame since, while irreverent fun, they are not the best thing on offer. With live video recording projected onto the stage, this show gets up close and personal. And, with some help from Hans Memling’s apocalyptic artwork, arresting imagery is everywhere, with a pulsating soundscape from Paul Arditti adding to the atmosphere.

Paul_Ready_Zubin_Varla_and_Natalie_Simpson_in_Measure_for_Measure_at_the_Young_Vic._Photo_by_Keith_Pattison
Paul Ready and Zubin Varla

Best of all are the performances. The cast, like the text, is slimmed down and works hard. Romola Garai is brilliant as an indignant Isabella, as is Paul Ready as a cool Angelo – both performers root out the essentials of their characters. There are also strong roles for Cath Whitefield’s Mariana (although why she should be a fan of pop star Pink baffled me) and John Mackay’s Lucio, whose joke with the Duke has far more mileage than usual. It’s with the Duke, given a towering portrayal by Zubin Varla, that Hill-Gibbins should get most credit. This ‘power divine’ is displayed in his twisted benevolent best – a Rasputin gone right, with an injection of tension that suggests his plans could go awry. The conclusion, shuffling the cast into a deranged and confused photo opportunity, makes quite a picture for this flash-bang-wallop of a show.

Until 14 November 2015

www.youngvic.org

Photos by Keith Pattison