Whittaker brings a commanding presence to her role, embodying the Duchess’s fierce spirit and determination of someone who clearly knows the fact that she is above her accuser’s rank. This knowing represents itself in a portrayal that captures the essence of a woman who refuses to be subjugated, despite the overwhelming odds stacked against her.
Jodie Whittaker’s return to London’s West End’s stage in Zinnie Harris’s adaptation of The Duchess of Amalfi is both a thrilling and thought-provoking experience. This modern interpretation of John Webster’s Jacobean tragedy, now set against an ambiguous contemporary backdrop, explores themes of power, control, and survival in a world imagined by patriarchal forces. While the production fills with unevenness, it ultimately illuminates the grim realities of those seemingly in power, and the resilience of those they attempt to oppress. In this retelling, the central narrative remains rooted in Webster’s original tale of a noble widow who – after years under the regime of a husband who was extremely controlling – secretly marries her servant. The consequences of her desire for autonomy are tested, as she faces ruthless demands and persecution from her brothers.
Harris’s adaptation makes a bold choice by integrating modern elements such as contemporary language, swearing, cross-dressing and musical interludes, while maintaining the play’s original tension. The production opens with a striking industrial set designed by Tom Piper, featuring white metal gantries that evoke a stark, clinical environment. This not only reflects the coldness of the characters’ motivations but also serves as a literal structure for surveillance and control, reinforcing the theme of a dystopian flavour. The staging is marked by clever directorial choices that enhance the fluctuation and stakes of the story. Scenes of domestic violence and psychological torment are amplified through strobing lighting and sound effects. Ben Ormerod’s lighting creates shadows that engulf the stage during pivotal moments, visually representing the dark theme. Similarly, the use of music – initially intrusive – gradually transforms into a haunting requiem, echoing the sorrow and tragedy that envelops the bloodbath ending of the story. The first act seems cluttered with exposition, as characters often articulate their emotions and motivations somewhat explicitly. Lines such as “I am not her equal” and “I’m impulsive and headstrong” detract from the subtleties that could have been conveyed through action and expression. Perhaps complex fluidity and nuanced dynamism are more expected from a production of this calibre. As the play progresses into the second act, it finds its footing, drawing audiences into the horror of not only the Duchess’s, but everyone else’s fates. Whittaker’s performance truly shines in the later scenes, as she navigates the psychological torture with climactic moments that are visceral. Whittaker delivers Webster’s iconic line, “I am the Duchess of Malfi still,” with a defiance that resonates deeply, leaving an indelible mark on the audience.
The character dynamics, particularly between Whittaker’s Duchess and the men who seek to control her, are intriguing. Rory Fleck Byrne’s Ferdinand is portrayed with an unsettling intensity, embodying the brutal and destructive nature of his incestuous desires and secret longing for approval from his fiery twin. Paul Ready’s Cardinal offers a chilling performance, steeped in hypocrisy and moral depravity, as he navigates his relationships with the women in his life. Their moral corruption and personal desires, masked by a facade of righteousness or duty, emphasise the destructive consequences of patriarchal hypocrisy. The play critiques how this false morality not only harms the Duchess but ultimately consumes and backfires to the perpetrators. The ensemble cast – including Jude Owusu, Elizabeth Ayodele, Hubert Burton, Matti Houghton, Hannah Visocchi, Kerill Kelly, Greg Snowden, and Amy Vicary-Smith – supports these lead performances with each interpretation, adding depth to the oppressive environment that surrounds the Duchess. The interactions between these characters reflect the broader themes of power, superficiality and vulnerability that permeate the narrative. The attempts to merge different tones – Tarantinoesque violence with solemn tragedy – can feel jarring at times, leaving the audience uncertain about the intended emotional response. Some moments of levity, while intended to offer relief, clash with the overall somber tone of the play. Yet, amid the chaos and bloodshed, there is a glimmer of hope. The heir of the Duchess survives, symbolising resilience and balance. The survival signifies inner power against the oppressive forces that seek to destroy those who dare to defy societal norms. While the lives of the protagonists are marred by tragedy, the continuation of the bloodline offers a sense of renewal, hinting that the cycle of violence will – with no question – eventually be broken. This crucial aspect of the narrative serves as a reminder that while the struggle for power may lead to tragic ends, the potential for survival and renewal remains. It is a testament to the enduring spirit of those who refuse to be defined by their circumstances. Overall, The Duchess of Malfi presents a bold, relevant and ambitious reimagining of a classic text. The cast’s powerful performances anchor the production, bringing to life characters whose struggle against patriarchal forces can make a difference. The adaptation portrays the desperation of those in positions of authority who attempt to control others but lack true substance or inner strength. This theme suggests that hollow power ultimately leads to self-destruction, as seen in the tragic ends of the Duchess’s brothers. They are motivated by dominance but are revealed as empty in their purpose and humanity. It effectively hints at the play’s exploration of empty, oppressive power structures and their inevitable downfall. Its depiction of power dynamics and the fight for autonomy resonates, ultimately inviting audiences to reflect on the complexities of control and survival, pinpointing the unnecessary and destructive legacies the world should leave behind.
The Duchess [of Malfi] is currently running at Trafalgar Theatre until 20th December 2024.
