2.0 out of 5 star rating
As a seasoned cinephile with over three decades immersed in the world of theater and cinema, I must confess that my recent encounter with “The Duchess” left me rather perplexed and disheartened. Jodie Whittaker‘s performance as the titular character was nothing short of mesmerizing, a testament to her acting prowess and ability to breathe life into complex characters. Yet, the production itself failed to live up to its potential.
Despite Jodie Whittaker’s impressive portrayal of a bold, sexually independent Duchess character, her performance alone cannot compensate for the lackluster and disjointed nature of the overall production.
In her modern adaptation of John Webster’s Jacobean tragedy “The Duchess of Malfi,” playwright Zinnie Harris aims to underscore the persisting issue of domestic violence, while simultaneously showcasing some of the most distressing depictions of woman abuse I have encountered on stage.
The story unfolds around the Duchess, who breaks convention by marrying her servant Antonio against her brothers’ strict orders. Unbeknownst to them, this union leads to their discovery and ultimately, a tragic end for the Duchess. This event triggers a chain of vengeance and fatalities, reminiscent of the intricate plots often seen in Renaissance plays.
Harris’s adaptation moves the story away from the melodramatic backdrop of 16th century court life and transports it into a less defined time period, where characters use contemporary phrases such as “Yeah”, and traditional Early Modern dialogue is occasionally interrupted by phrases like “Oi, **get lost**,” which is quite startling to hear.
Initially, it’s important to note the strengths: Jodie Whittaker delivers a captivating performance throughout. Resuming her role on stage after more than a decade, she transforms Webster’s Duchess into a straightforward feminist character, rich with multiple dimensions of light and shadow.
Throughout the first act, her character evolves from lively to sensual, decisive, tender, and ultimately nurturing. In essence, she embodies a fully-realized female persona.
Sitting opposite her, and also a highlight, is Joel Fry’s performance as Antonio.
Displaying an offbeat, jittery enthusiasm that’s characteristic of the actor from Plebs, he seamlessly embodies Whittaker’s ardent and unassuming affection.
Ultimately, Jude Owusu skillfully portrays Bosola with a delicate touch and immense emotional depth. Regardless of the reprehensible acts his character commits, we find ourselves sympathizing with him. His motivations behind each action are always clear to us. The final scene, especially, showcases his exceptional talent.
Moving forward now to the remaining parts. The initial segment stands out as the stronger of the two and showcases Tarantino’s signature style. Right off the bat, Whittaker glides on stage wearing a red gown and croons a sensual tune. Reminiscent of the title cards in The Hateful Eight, character names are displayed prominently in the backdrop.
The humor it presents is occasionally quirky, effectively establishing the themes of social class, misogyny, and male aggression, which I expected to be more thoroughly explored in the subsequent scenes.
…Only it wasn’t.
Initially, viewing the second act brought back memories of my own performance during GCSEs of 4.48 Psychosis – picture chaotic scenes with teenagers yelling while wearing nightgowns, and you’ve got the idea. However, as I continued watching, I found myself squirming in discomfort as Whittaker and other female characters endured prolonged, agonizing deaths.
Indeed, all the characters who perish are the same in both versions, yet the extensive portrayal of their demises and the graphic violence seem more to celebrate and glorify misogyny rather than criticize it. Given that there’s already an abundance of female suffering depicted in media, is it necessary for us to witness such distressing representations again?
Following Whittaker’s passing, the show struggled to regain its original momentum, and certain uneasy delivery lines during the climax led the audience to chuckle instead of holding their breath with anticipation.
Leaving the Trafalgar Theatre, there was an unsettling sense that the performance hadn’t fully delivered on its potential, with anticipation that adjustments will be made before the show resumes.
The Duchess’s performance at the Trafalgar Theatre will continue through 20th December 2024. You can purchase tickets from London Theatre Direct.
Here are some top-tier West End performances, touring musicals, and a critique of The Lehman Trilogy for additional suggestions. Enjoy!
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2024-10-17 18:04