The Duchess of Malfi by John Webster
The Duchess of Malfi is a popular choice as a set text, despite (or perhaps because of) the violence and horror of its later scenes. Generally considered to be the masterpiece of Jacobean playwright John Webster, it was first produced in around 1613. It’s a macabre tragedy, based on actual events, and tends to be loved or hated by critics – while consistently captivating audiences across the centuries.
Set in Italy in the early fifteenth century, it starts out as a love story, with the Duchess marrying beneath her class. However, her two brothers, one cool and corrupt, the other violent and warped, have other ideas. With incredible plot twists along the way, the play ends as an utter tragedy, as the brothers take revenge on her, destroying themselves in the process.
Dark, complex…and feminist?
The main themes of The Duchess of Malfi include revenge and corruption. It also looks at the status of women in society - Webster’s use of a strong, virtuous woman as the central character was rare for the time.
The play was originally written for and performed by The King’s Men, the same company which Shakespeare belonged to. Indeed, this Jacobean classic makes an interesting text to study in comparison to many of Shakespeare’s works.
The language is poetic, and subtle at times, but infinitely rewarding. Its complex characters are also rewarding to watch, as the play develops towards the highly dramatic climax.
The Duchess of Malfi at Greenwich Theatre - what the critics say:
‘The best spoken, most intelligently staged and thrillingly effective Malfi I've seen in years.' THE STAGE
'The test of any revival is the lead performance, and Aislin McGuckin rises honourably to the challenge.’ MICHAEL BILLINGTON, THE GUARDIAN
‘Much of the pleasure of this revival lies in re-encountering Webster's language.’ MICHAEL BILLINGTON, THE GUARDIAN
‘Greenwich Theatre’s return to producing is welcome, and it’s latest venture, a collaboration with Stage on Screen is admirably forward thinking’ THE TIMES
'A superb Bosola. Tim Treloar...terrifyingly magnetic and magnetically terrifying.' TIME OUT
'So the show has its own intergrity as a theatre production; but more than that, it will now live on as a potential educational resource.' THE STAGE
‘This production does particularly well at bringing out Webster's verse, making it sound surprisingly fresh and modern in places and certainly accessible.’ THE LONDONIST
‘A fine piece of ensemble playing which earths the action in reality rather than excess.’ BRITISH THEATRE GUIDE
‘Visually, the production is entrancing. The staging is dynamic making wonderful use of Neil Irish’s stark set which creates a hauntingly effective space… all beautifully highlighted by Wayne Dowdeswell’s simple but creative lighting design.’ WHATONSTAGE.COM
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