Leeds.
TIS PITY SHE’S A WHORE
by John Ford.
West Yorkshire Playhouse (Quarry Theatre) Quarry Hill LS2 7UP To 28 May 2011.
Mon-Sat 7.30pm Mat Thu 1.30pm Sat 2pm.
Captioned 26 May 7.30pm.
Runs 2hr 40min One interval.
TICKETS: 0113 213 7700.
www.wyp.org.uk
Review: Timothy Ramsden 19 May.
Impressive looking if variable sounding revival of heart-to-heart tragedy.
Tis easy to see why they closed the theatres within a decade or so of John Ford’s play taking to the boards. In 1632 or thereabouts, the quotes that could have screamed across early versions of Hollywood posters might be imagined: “Never yet, incest and murder have so strangely met," for one. That would have got the Puritans ruefully tutting.
Ford’s play was a long way after Shakespeare, and not only in years. He’d have been as successful a Hollywood scriptwriter as his namesake was a director. Apart from the sex and violence mix in the sensational dripping-heart finale, there’s plentiful violence around Soranzo (a dangerous blonde idol in Sebastian Reid’s performance) and his near-morbidly loyal servant Vasques, fixing a deceitful way to death or mutilation for those who cross his master.
Even authority is suspect. The Cardinal who pronounces the sententious epilogue has just confiscated everything he can lay his hands on for the church, and has protected the powerful Soranzo all along. Michael Matus shows him dabbing at his mouth with a napkin, well-fed as he pronounces judgments.
Matus also plays woebegone Bergetto, a simple fellow who has no way with women, and whose murder is shocking yet moving. The two roles reflect religious and secular existences, the latter also seen in the sexy social scenes of an action updated to the second half of the last century. These contrast the opening tussle in the confessional between young Giovanni and his Friar-tutor, under a huge image of Christ.
Space is boldly used in Jonathon Munby’s production, with Annabella surprised the young man she fancies from her high window is her brother. As plots brew around them, brother and sister lie happily in bed at the first act’s end. Then Annabella is married off to Soranzo, and violence encroaches.
It’s spacious, epic and smart, within a pervading emptiness. But the verse is too often strained, with honourable exceptions: Sara Vickers’ innocent Annabella, Sally Edwards’ angry then terrified Hippolita, Matus in his doubling and James Hayes as the siblings’ father, for whom things had seemed to be going so well.
Florio: James Hayes.
Giovanni: Damien Molony.
Annabella: Sara Vickers.
Putana: Rachel Lumberg.
Friar Bonaventura: Robert Bowman.
Soranzo: Sebastian Reid.
Vasques: Gerald Monaco.
Hippolita: Sally Dexter.
Donado: Christopher Saul.
Bergetto/Cardinal: Michael Matus.
Richardetto: William Ilkley.
Philotis: Ty Glaser.
Grimaldi: Mark Stanley.
Baditti/Officers:Waiters/Gentlemen: Dwean Homes, Matthew Jameson, Darren McKeown, Alex O’Neil.
Director: Jonathon Munby.
Designer: Mike Britton.
Lighting: Oliver Fenwick.
Sound: Mic Pool.
Composer: Dominic Haslam.
Voice: Neil Swain.
Movement: Laila Diallo.
Fight director: Terry King.
2011-05-25 02:12:42
