The duchess of King Street

March 18, 1998
Issue 

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The duchess of King Street

The Duchess of Malfi
By John Webster
Directed by Margaret Davis
New Theatre, King Street, Newtown
Fri-Sun until April 25

Review by Allen Myers

If it were now September, I would declare this almost certainly Sydney's play of the year. But March is not yet over, and there are many and varied productions by accomplished directors and actors still to come, so caution dictates that I restrain my enthusiasm and assert merely that The Duchess of Malfi will definitely be in the running for the best of 1998 when we look back from the vantage point of December 31.

John Webster has of course been overshadowed by his slightly older contemporary, one W. Shakespeare. This is just, in that Webster is undoubtedly the lesser in both quantity and quality of his plays. But what bad luck — if not injustice — to have been born at a time that would cause him to be compared automatically with the greatest English-language playwright, when he towers over so many others.

Like Shakespeare, or any other writer of the period, Webster can be difficult for a modern audience, because of changes in both language and social attitudes. Webster adds his own challenges, such as having his plot leap years into the future between scenes. All the more credit, therefore, to director Margaret Davis and the entire company for a production that is both faithful to the original and compelling for a 20th-century audience.

The play presents the persecution and eventual murder of the widowed duchess (Kate Randall) by her two brothers (one a duke and the other a cardinal). Her offence is to have secretly remarried, and to one beneath her station — Antonio (Shane Morgan), her steward.

The story of a strong woman attempting to defy oppressive male strictures gives Webster's text an obvious modernity — or reminds the viewer of how little some things have changed in four centuries. Randall's performance brings out all the richness of the duchess's nature — as memorable a female character as any in Shakespeare, except possibly Lady Macbeth.

The Duchess of Malfi is sometimes compared with King Lear for its theme of the persecution of a noble character. The duchess, however, does not contribute to her own downfall in the way that Lear does, which provides so much of the dramatic tension in Shakespeare's play.

In Malfi, much of the dramatic development is focused instead on the role of Bosola. Employed by the brothers to carry out their dirty work, he is a complex and intriguing character, torn between his eagerness for advancement and his desire to live a more honourable life. Christopher Johnson gives a powerful and taut performance as the moody, brooding, cynical Bosola.

Lloyd King as Duke Ferdinand and Dirk Bromley as the cardinal excellently master the festering relationships between the three siblings. The brothers are counterpoints to each other — the cardinal restrained and controlled in his villainy, Ferdinand progressing through the play from what seems little more than a vain impulsiveness to a criminal madness.

An intricate sub-plot revolves around Julia, the cardinal's mistress, played with verve by Teresa Bell. Margaret Davis has wisely allowed the sub-plot its full development, which prevents the wanton Julia being reduced to a mere foil for the virtuous duchess.

The production is visually, as well as dramatically, stunning. A striking but simple set designed by Tom Bannerman showcases gorgeous period costumes (I've often wondered what a codpiece really looked like). And Davis has choreographed several short dance sequences that fit perfectly into the action.

This production is a night to remember. Don't miss it.

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