The Duchess of Malfi

Synopsis

Eve Best returns to The Old Vic in March 2012, in John Webster's great Jacobean tragedy, The Duchess of Malfi, directed by Jamie Lloyd.

The Duchess of Malfi is a wealthy young widow. Jealous of her fortune, her two brothers, the Cardinal and her twin Ferdinand, decide she must not remarry. To this end they introduce a spy into her household, the ruthless Bosola. The court of Malfi is a treacherous place, with political, religious and personal allegiances in constant conflict. But the Duchess is blinded to its dangers by her love for her servant, Antonio. When their marriage is revealed her outraged brothers determine on a devastating course of action. Revenge breeds revenge, love turns to hate and a powerful tale of despair and madness inexorably unfolds.

Eve Best's most recent theatre credits include Beatrice in The Globe’s Much Ado About Nothing, directed by Jeremy Herrin. Best also took the title role in Hedda Gabler at the Almeida, for which she won the 2006 Olivier Award for Best Actress, she was later nominated for the same award in 2007 for her role of Josie in Eugene O’Neill’s A Moon for the Misbegotten at The Old Vic. On screen, Best is known for her portrayal of the Duchess of Windsor in the Oscar winning The King’s Speech.

Please note: Contains scenes of a sexual nature and violence.

Our Review:

Michael Coveney - 29 March 2012

After all her tortures, trials and tribulations, John Webster’s spirited Jacobean heroine proudly proclaims, “I am Duchess of Malfi, still.”

But there is nothing still, or immobile, about Eve Best’s impetuous and full-hearted portrayal. In fact, she surges across the stage on that line, bursting at the seams of the play, and her own white shift.

Most great duchesses - Judy Parfitt, Helen Mirren, Charlotte Emmerson at Northampton recently - become drained, distracted, marmoreal. Best tops them, throbs with passion.

She’s not even driven “mad” by the unleashed lunatics (here a spooky sound effect, not the full processional Monty, alas) and she kicks against the pricks to the end, unvanquished in death, a grim ghost in silhouette against the ancient ruins and Gothic arches of Soutra Gilmour’s vaulted baroque setting.

This is a tremendous Italianate revival by Jamie Lloyd of one of the greatest pl...

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Latest User Review

Rhiannon - 16 June 2012:

No mention of the mad men's song, lady who played Cariola was laughable and the man who played Antonio was weak. As an A-Level student studying the text for my exam, I, and the rest of my class, felt it was helpful to see and accurate to the original play for the most part, but vital points were missing. Also, Ferdinand's lycanthropia was not drawn on at all. Very poor and didn't aid my knowledge of the play at all. Came out of it feeling very confused and heard many other people commenting on how poor it was....

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