We round up the reviews for this revival of John Webster’s play directed by Rachel Bagshaw.
The Stage: **** “Francesca Mills is compelling in this classic story of callous cruelty and bloody revenge.”
The Guardian: **** “Francesca Mills demonstrates her range in the title role, from her comic wooing of Antonio (a likable Olivier Huband) and the tenderness of their relationship to her furious grief at his murder. At first she seems the sweet younger sister to her brothers: the more she fights for her womanhood, the more adolescent they appear. Even the Cardinal, the most cynical of the onstage killers, has layers as played by Jamie Ballard: the scene in which he tries to calm his increasingly frenetic brother is unexpectedly moving.”
Evening Standard: **** “Bagshaw’s atmospheric production also brings out the humour amid the bloody chaos of Webster’s world. This is a cracking piece of work.”
West End Best Friend: ***** “As the candles are extinguished and the horror increases, we are left to consider once more how lucky audiences are to be able to see a Jacobean revenge drama in the conditions for which it was written: even the authentically uncomfortable seating can be forgiven for an experience like this. A definitive production then, and a thrilling evening for theatregoers.”
Broadway World: ***** “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 Telegraph: ** “Francesca Mills radiates authority as the titular star, but this return to Webster’s play fails to exploit either the drama or the venue.”
WhatsOnStage: *** “Bagshaw’s production is more successful when tapping into the dark farcical aspects of the play rather than the tragedy, particularly when the Duchess is about to give birth to another secret baby. Some of Webster’s plotting is questionable. It’s just about feasible that the Duchess could successfully conceal three pregnancies, though how the children are successfully kept hidden with so many spies around is another question. It’s also an odd play structurally, as the protagonist dies movingly and with outstanding dignity about 30 minutes before the end and there are a number of other characters to despatch afterwards (Shazia Nicholls is a strong and loyal presence as waiting woman Cariola). It does somewhat lose momentum as the pile of dead bodies fill the stage one by one.”
The Duchess of Malfi continues to play at the Sam Wanamaker Playhouse until the 14th April.