The Duchess of Malfi at The Old Vic

The Duchess of Malfi at The Old Vic

03 April, 2012
by: Naima Khan

For Jacobean melodrama with all the trimmings, see Jamie Lloyd's The Duchess of Malfi at The Old Vic. 

The combination of Soutra Gilmour's design and James Farncombe's lighting makes the set the star of Jamie Lloyd's dank and deliciously dark production of Webster's The Duchess of Malfi. Multiple levels of intertwining steps and platforms between leaning panels and layers of candlelight turn the stage into an imposing, labyrinthine space that's only made more vast by Farncombe's lighting. At times he creates a cold exterior wall, then blasts a wide aisle down the middle for the Cardinal to come marching through surrounded by his hooded henchmen, before the opulent candlelight that accompanies them turns to the cold light of day. But neither Gilmour nor Farncombe ever create anything inviting. Rightly, the characters don't live here, they simply exist here.

The lack of life amid this intimidating palace makes the Duchess' romance all the more vital. After her husband dies she secretly marries her steward, Antonio, and has three children with him. But her brothers, the psychopathic Duke and the corrupt Cardinal are enraged when they find out and set out to imprison and kill her.

If, like me, you'd rather read a Webster than see one, then see this one, because, although some of the language is lost, as you'd expect with anything of its era, the lead performances are incredibly affecting. Eve Best as the Duchess glows like an angel in that light of Farncombe's. She is wistful in her delicate dress, but thankfully Best is no vulnerable waif. She gives the duchess a spine of iron and overwhelming powers of endurance, and her final scene is utterly repulsive. But before this, we see her full of humour, giddy recklessness and affection for Antonio.

With less range but equal power, Harry Lloyd as the incestuous Duke is vile and bizarre. His scenes make the auditorium come alive with gasps. Finbar Lynch as the Cardinal is not as intimidating as he is darkly funny, but his lack of conscience is suitably disgusting. He is superseded by Mark Bonner's Bosola, the henchman who ignites the drama, reveals secrets, feels up the female courtiers and has one of those ridiculous Jacobean changes of heart during the second half which distracts from the hour or so of waiting around for people to get killed. Director Jamie Lloyd plays up the comedy and the sex, and, happily, the play doesn't take itself too seriously.

Although the sound design could have been stronger, the acting could have been better among the supporting cast and the minor characters cause the play to plod, Jamie Lloyd does with The Duchess of Malfi what this type of over the top melodramatic theatre should do. He takes you somewhere else, somewhere the melodrama, the gore, the humour and the poetry of Webster's script is the norm. And he does it with a lot of help from that brilliant set. 

The Duchess of Malfi runs at The Old Vic until 9th June. 

Image by Johan Persson

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Naima Khan