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Lazarus Theatre Company

The Duchess of Malfi

by John Webster

Director: Ricky Dukes

Blue Elephant Theatre

17 March – 4 April 2009

Couzens

A review by Aisha Walters for EXTRA! EXTRA!

Lazarus Theatre Company’s production of The Duchess of Malfi seeks to reinvent John’s Webster’s classic tale by updating its setting to 1940s England, using movement to express the characters’ inner turmoil. This is a collaborative piece with none of the actors leaving the stage throughout the performance, leaving the ensemble to stand around the side of the black box and watch the action. This concept successfully illustrates to the audience the isolation of the Duchess, whose privacy is not her own and whose passions are constantly watched and scrutinised. The lack of set was another device used to express the Duchess’ situation. For, by having limited props and using the cast to clutter the stage, the idea is that the people in the Duchess’ life, rather than the surroundings which destroy her are realised. Heather Doole’s lighting also emphasised this, lending a very intimate quality to the piece.

In the programme for Malfi, director Ricky Dukes promises the audience an ‘enthralling, pace driven, atmospheric piece of contemporary theatre’, sadly his production failed to deliver in many aspects. However, while watching Dukes’ production you cannot help feel he needs commending for his bravery. For he strips back the story, cutting large amounts of dialogue to bring you his own take on Webster’s play. And a well defined one it may be, for no one who left that studio would feel ambiguous about Dukes’ views. However his swift 90 minute version did not allow the audience to form any views of their own and appeared at times to be relentless in its opinions.

However, Dukes’ cannot take sole responsibility for the production’s failure. The actors’ performances were all a little lack-lustre and fell short in their attempts to embody the dark characters in the play. But Natalie Lesser was an accomplished Duchess, although perhaps a little too composed to convey the Duchess’ emotional journey. However, as a leading lady she holds one’s interest throughout. Neal Craig’s Antonio also had some nice moments, especially when conversing with James Ronan’s Delio. However, the lack of sexual chemistry between the lovers compromised the story’s core theme. And Steven Rodgers and James French seemed to lose their way with their interpretations of Bosola and Ferdinand respectively. Both seemed to think that intensity meant louder voices and brasher actions, whereas, subtler performances may have fared better, especially in this intimate venue.

Instead of adding to their production, many of the devices used by Lazarus Theatre Company had little effect. Unlike the work of their peers- Punchdrunk and Shared Experience which inspired this performance, their potentially inventive version of Malfi felt more convoluted rather than exploratory. The use of movement throughout the piece seemed a little haphazard and didn’t really have much purpose apart from being a unique way of dealing with set changes. The change of setting to World War Two was not successfully carried throughout the piece with only the sound of bombs going off and actors carrying chairs on their sides like guns, a reminder of the updated period. Try as they may, Lazarus’ attempt at transforming The Duchess of Malfi left me leaving the theatre impressed by their valiant effort but less than satisfied with the results.

Box Office: 020 7701 0100

Tickets:£12, £10 concessions

www.blueelephanttheatre.co.uk

Blue Elephant Theatre

59a Bethwin Rd, Camberwell, London, SE5 0XT

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