'Tis Pity She's A Whore at The Barbican

'Tis Pity She's A Whore at The Barbican

22 February, 2012
by: JoSuthers

Five stars for this perfect parallel of Jacobean drama and contemporary influences. 

Cheek by Jowl’s production of 'Tis Pity She’s A Whore explores extremes, indulges taboos; and yet captures the poignancy and rhythm of John Ford’s language. In this violent and bloody drama, we watch a brother and sister’s destructive, distorted love and forbidden lust unravel into a chaotic bombardment of sins of the flesh. 

Giovanni (Jack Gordon) possesses an unhealthy fixation for his younger sister, Annabella, who has attracted the interest of a number of suitors. Annabella, played beautifully by Lydia Wilson, is essentially a playful and licentious teen, caught in the midst of awakening womanhood and erratic sexuality. In addition to a generous serving of incest and brutality, the corruption of morality and thriving injustice within society is harshly unveiled. Declan Donnellan fearlessly directs the piece with a sure-fire wisdom of the plays deeper meaning. The direction seems limitless; every inch of the space is explored and the stage fluently transforms with each visually striking scene. Jane Gibson’s choreography and movement heightens the power of the play while dispersing and intellectualising the action. 

The cast are magnificent. As a collective, they deliver a powerful energy and breathe life into this time-resistant masterpiece. The language is riddled with obsession and this is mirrored in the performances. The actors work in sync and fully explore the fleshy relationship dynamics; especially obvious with the forced pairing of Annabella and Soranzo (Jack Hawkins), and the tumultuous, sinister dallying between Putana (Lizzie Hopley) and Vasques (Laurence Spellman).

Poignant parallels are drawn between the Jacobean era of the play the world we live in today, and these parallels are reflected in both the design and delivery of the piece. In a blood-red, womb-like boudoir, bordered by posters depicting the eerie and the erotic – everything from ‘The Vampire Diaries’, to ‘True Blood’, to ‘Breakfast at Tiffany’s’. Annabella dwells in this grunge and goth-inspired adolescent mentality. Other elements of the modern era effortlessly weave into the production; there is a stripper, a rave and a fair amount of intoxication.

The very spirit of John Ford’s play is evoked in this transfixing production which deals frankly with sin. Yet the writing does not allow for complacency of morals or sensational embellishment. Its social messages are clearly conveyed  with the sensitive, searching, deliberate quality and structure of the verse. Despite being a Jacobean tragedy, this production will take you on a journey full of twists and turns, laughter and tears. Cheek by Jowl’s work embodies the essence of theatricality. ‘Tis Pity is an incredibly polished piece of theatre and an immensely powerful revival of a timeless classic.


'Tis Pity She's A Whore runs at The Barbican until 10th March. 



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JoSuthers