But you can, if you are lucky enough to
have been bought up by a drama addict, and are able to bare witness to arguably the two best productions
of the Duchess of Malfi performed
in modern times.
Both were played in semi darkness. The 1981 production was in the Round House with that
immense, windowless cavern illuminated by electricity, whilst the 2014, was entirely candle
light in the intimacy of the new Globe covered theatre. Within both spaces the unnatural
behavior between brothers and their sister where played out to their
predetermined bitter end… “in this twitching world of Webster’s whereeverything is enhanced and heightened to a morbid degree. And the staging is so intense and the playingso powerful… that it actually seems not only credible but also natural,inevitable that people should carry on in this bizarre way.” (The Guardian 1981).
Dipping into my teenage memories I vividly feel
the cold metal fear whilst witnessing the cruelty and impersonal violence meted
out by Bosola as played by Bob Hoskins.
Why was he so deep and unfathomable? How did this intelligent, moral man perform
such cruel, immoral and destructive acts?
What was, I remember particularly chilling, was that he conveyed a
visceral pleasure in his behavior and contradictory actions.
These questions keep coming up as you watch the tragedy unfurl. However to a 17th century audience the 'guilt' lies firmly with the Duchess. What follows is a sequence of events and actions performed as retribution for her transgretion.
Through out the play the Duchess is being so judged by the
other characters. To Websters audience these judgements where plausible. Antonio, who knows he should not, worships her virtue and beauty .... her look “speaketh so divine a continence, | As cuts off all
lascivious, and vain hope.” To Ferdinand and the Cardingal she is .... “loose, i’th’hilts:
| Grown a notorious strumpet.”
Cariola her maidservant, clearly loves her but does not understand her ... "Whether the spirit of greatness,
or of woman - Reign most in her, I know not, but it shows - A fearful madness: I owe her much of pity".
When I saw the latest production of the
Duchess the memories of this remarkable performance came flooding back. Again, it’s the Machiavellian character of
Bosola that unsettles and unnerves me.
Why are humans so cruel and why do they seem to take so much pleasure in
their cruelty?
 |
| Bob Hoskins and Helen Mirren back in 1981 |
Bob was an
unconventional actor back in 1981 he could be found proping up the bar both before and after the performance. Back in the dimly
light space within the circle within the round, back in character as Bosola,the magic of his performance returned. I’m
sure he was completely oblivious to the fact that he had inadvertently removed
the fourth wall for a young girl, or that his performance of Bosola was so good
that it has left such a deep impression
on a developing mind to this present day - only to be rekindled by the 'Wannermaker' production.
The Sam Wannermaker theatre has created a treasure of a theatre where masterpieces such as the Duchess deserve to be
produced. Gemma glowed in the candlelight. It would have taken a herculean effort on
Bob’s part to act quite so malevolently towards her. Gemma was the manifestation of virtue! But he probably would have managed it. Back in the space, in character real actors
create the magic that we lesser mortals can only experience and remember in
awe!
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