Review: THE DUCHESS OF MALFI, Sam Wanamaker Playhouse

“Sometimes the Devil doth preach.” In a winter season that has arguably gone too light on Shakespeare, it is nonetheless fitting that the final production is a brand new version of John Webster’s bloody tragedy. Dominic Dromgoole’s production opened the Sam Wanamaker Playhouse ten years ago, and now Rachel Bagshaw is on board to direct it on its return to the replica Jacobean theatre.

The titular Duchess has been widowed, and her possessive brothers (Ferdinand and the Cardinal) do not want her to remarry - to this end, they place ex-con Bosola in her court as a spy, allowing them to monitor her activities when they return to Rome. There is soon work for Bosola to do, as the free-spirited Duchess chooses to marry for love, wooing her steward Antonio in secret and eventually giving birth to three children. When this news is brought to light, it triggers a catastrophic series of events that are destined not to have a happy ending…

This is a play full of incredibly dark themes, so it is a credit to Bagshaw that she has managed to extract as much humour as possible - and it demonstrates great skill in the cast that they are able to deploy this without detracting from the very serious events in the rest of the play. The tone is set early on with an instrumental arrangement of Scissor Sisters’ "Filthy/Gorgeous" chosen as the music to accompany a masked dance at the Duchess’ court; the array of colourful costumes designed by Ti Green highlights the levity and joy of the moment (I just wish that Ferdinand had donned a wolf mask, although the skull is also very apt).

Green also designed the set, the most notable feature of which is a small central revolve - this is particularly useful early on as Bosola introduces the three siblings, but is also used to great effect at different points throughout.

Captions are incorporated into the design of the production, imaginatively projected onto the set to enable the viewer to follow the action as well as the words. Sarah Readman’s designs are often incredibly creative, managing to get the meaning and feelings across rather than simply displaying the words; at points it may be a little overwhelming for anyone who needs to use them to follow the play, however there are designated captioned and IBSL performances later on in the run.

This move towards greater accessibility (something that has been demonstrated consistently over recent years at Shakespeare’s Globe) and the inclusive nature of their casting makes their approach to this summer’s Richard III all the more baffling and frustrating. Pushing forward in one department doesn’t mean you can row back in others.

It is a genius move to bring Arthur Hughes into the company to play Bosola after his acclaimed portrayal of Richard III for the RSC in 2022, as he similarly confides in and consults with the audience during this play (something Hughes is brilliant at doing) - even if the two characters have slightly different trajectories in terms of their personal development. I hope we don’t have to wait too long to see his take on Iago.

Jamie Ballard is suitably slimy - but also genuinely menacing - as the Cardinal, whilst Oliver Johnstone’s Ferdinand is insecurity and toxic masculinity in human form. The pair have an exceptional dynamic, ice and fire coming together with disastrous results.

Even at the Duchess’ darkest moments Francesca Mills lights up the stage. Mills is a phenomenal actor, veering from giddy in love as she seduces Olivier Huband’s Antonio, to defiantly strong in the face of death - her performance shows incredible depth, and is a definite high point in her career so far.

This is one of the strongest productions ever to have been staged in the Sam Wanamaker Playhouse, and a dazzling way to bring the winter season to a close. 

The Duchess of Malfi is at the Sam Wanamaker Playhouse until 14 April

Photo credit: Marc Brenner

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