Tag Archives: Trafalgar Theatre

Uncategorised

“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

Uncategorised

“A Mirror” at the Trafalgar Theatre

Debates on aesthetics aren’t for all, but Sam Holcroft’s puzzle piece – a transfer from the Almeida Theatre – is an entertaining hit. The play is clever, self-consciously so, often funny and profound. If it lacks originality, a great production directed by Jeremy Herrin powers through to secure success.

In a generic dystopia (such set-ups often annoy me, but that’s a personal preference) we are gathered for the illicit performance of a play. It’s a good go at getting the audience involved and Herrin always does this well. And yes, it’s a play within a play. Specifically, about a young writer, Adem, whose work uses verbatim conversations and, since this regime isn’t keen on reality, is therefore dangerous. 

One of many twists is that our censor, named Čelik, is civilised. He wants to nurture talent and has already done so with a national treasure, another writer brought in for a very funny workshop scene. But the result of that reading is a play based on the scene we’ve just seen. So, I guess, it’s a play within a play within a play, that we’re watching.

There’s a love triangle, too. Which feels a bit of a distraction, although it makes a strong role for Tanya Reynolds stuck between the two men. Maybe the point is how messy art can get (although I doubt a ruthless regime would care about #MeToo moments). It’s a shame you can see a final twist coming from way off. Or maybe Holcroft is being generous – allowing us to feel as clever as she is.

It might all be thought a lot just to ask if plays should be a mirror of reality rather than escapism or inspiration. Such questions are hardly new. Nor are ideas about how politically dangerous plays might be. But, and it’s a big but, the ideas are given urgency and dramatic tension. Considering the strong plotting, structure and characters – basically, the mechanics of writing a play – Holcroft comes close to being impervious to criticism.

It should be stressed that the performances help. Jonny Lee Miller takes the part of the censor with a sense of mischief that is wholly appropriate. He can be scary, but also vulnerable. Samuel Adewunmi and Reynolds have nice lines in naivety – when it’s appropriate. Don’t forget, when everyone first appears it is as an actor. That another identity is revealed makes for layered performances that are easy to enjoy and admire.

A problem remains. For all the script’s smarts, and a strong production, there’s a sense that we’ve seen a lot of this before. Playwrights like writing about plays. Even the concern that an audience doesn’t want revolt but, rather, a gin and tonic (good line) has been pointed out. The game is played well. A Mirror is a great night out. But is that a judgement on how any effort to be serious is pointless? Let’s hope not.

Until 20 April 2024

www.amirrorwestend.com