Based on a classic play written by John Webster, with a modern spin.
It is currently being performed at the wonderful Trafalgar Theatre.
This adaptation of ‘The Duchess of Malfi’ by Zinnie Harris, starring Jodie Whittaker, has been criticised by many, and did not live up to many people’s expectations.
Filled with innuendos, graphic sex references, and plentiful swearing, this modern adaptation is almost unrecognisable when compared with the original source material.
It maintains its criticism on the patriarchy with the incredibly misogynistic brothers, however, it has a contemporary spin that’s done in a way so that it unfortunately causes many of the original themes of this play to feel out of place.
At times, the decisions and attitudes of the characters make little sense.
Genre changes are whiplash-inducing and appear at the snap of a finger, with ill-timed comedic one-liners being thrown into tense scenes.
There are also gimmicks that add an air of corniness to what is presumedly supposed to be a mostly serious play, such as a lady with a Scottish accent dressed in all white that occasionally makes an appearance to sing or play the guitar without warning.
Therefore, understandably, once we move into the more tragic second half of the play, it’s hard to take it seriously.
The audience has the pleasure of joining the Duchess in the psychological torture she is subjected to, before the play spirals into the classic tragic bloodbath that is… odd, to say the least.
This play’s version of the ending and events during the last act are changed from the original play to the point where it almost feels melodramatic rather than truly tragic.
A few plot holes form from the abundant reshaping and reassignment of roles of characters from the original play.
On asking for the opinion of someone else who has watched it, they said this:
“Everything in the production was overdone. It very quickly switched from overused sexual jokes to cliché white room psychological horror.” – Nelly Malykhanova, 16 years old
Despite all of this negativity, there were certainly some good features in this re-interpretation of the Duchess of Malfi: one of which was that the acting was not lacking in the slightest.
Jodie Whittaker’s ‘Duchess’ was charming and charismatic, giving the audience the satisfaction of watching her stand up to her controlling brothers.
Joel Fry’s ‘Antonio’ was refreshingly timid, and the modern reinterpretation of his character really puts into perspective how unconventional it was for a woman of plentiful choice to choose to marry someone like him in the Renaissance era.
Perhaps this would be a good watch for someone who’s never read or seen the original play, or is looking to turn their brains off for the evening and sit back for a uniquely striking show.
Unfortunately, fans of the original play can’t help but feel disappointed.
