PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
Latest editorial
The Duchess of Malfi, Almeida Theatre London
Feminist intent to the fore in striking interpretation of dark drama
MESMERISING: Lydia Wilson with Leo Bill
[Marc Brenner]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
IN THIS 1614 revenge tragedy by John Webster, the widowed Duchess of Malfi (a youthful Lydia Wilson) secretly remarries, against her brothers’ wishes. Her spouse, Antonio, is the steward of her household and not of equal social status.
Suspecting something is going on, her brothers send Bosola (Leo Bill) to spy on her. Inevitably, events spiral bloodily out of control.
Vulnerable, fiercely loving, highly intelligent and otherworldly, the mesmerising Wilson is very much at the heart of a production in which director Rebecca Fracknell foregrounds Webster’s female characters, with waiting woman Cariola — given an emotionally intense performance from Ioanna Kimbook — very much in prominence as part of the family.
Similar stories
PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
Family issues and dragon-fuelled history amount to a vacuous spectacle that ill-fits the theatre, muses SIMON PARSONS
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue