The Duchess (of Malfi) at Trafalgar Theatre

Debuting in London at the Trafalgar Theatre, Jodie Whittaker plays the role of widowed Duchess Malfi as she navigates societal pressures, love, marriage and standing up against the patriarchy. Directed by Zinnie Harris, The Duchess is an adaptation of John Webster’s drama with Whittaker at centre stage.

Whittaker’s portrayal of The Duchess is witty and sharp and far from her on-screen roles. The Duchess is powerful, and her dialogue reflects her smarts and desire to survive as a woman in a world where men have power. The Jacobean essence is still in the play, despite it being painfully obvious that Harris was trying to bring it into the modern day. The villains are The Duchesses’s brothers, but even their motivations and anger feel shallow.

You don’t believe that Ferdinand (Rory Fleck Byrne) and The Cardinal (Paul Ready) want their sister’s name restored or even want revenge on her, because the pace of the play is too fast and within 30 minutes, they’re already plotting their revenge. It feels a bit unrealistic considering the play’s five-act structure where the run-time needs to reflect the motivations of the brothers to enact their revenge on their sister.

Ferdinand’s characterisation feels especially like a letdown because yes, he does have the same madness as the play, but he feels like a parody of what a “mad” person would seem like. That, and his relationship with The Duchess: the closeness and oddity makes it feel too incestuous, even if it is already implied when you read between the lines.

The Cardinal, on the other hand, is fantastic, and Paul Ready is hilarious. He is a religious hypocrite, but he is one without the annoying preachy side. With his brazen delivery, he makes The Cardinal feel like a villain, especially when in a shocking move he executes his mistress.

The interesting use of lights and buzzer sounds is one of the most exciting (and deafening) parts of the play. The Duchesses lock-up is emotionally charged, and the performances of Whittaker and the ensemble bring this part of the play together. Also perfect for this part of the play is Tom Piper’s asylum-esque set design, which creates some eerie moments in the play where characters can watch The Duchess from above, fitting considering outsiders looking in are what leads to her downfall.

The appearance as if she is in a modern asylum is a great update by Harris, but the build-up to the tragedy feels like a soap opera and not a play. The confusion of what the piece is trying to be and what it is does make the attempts at drama feel overbearing even if the cast performances and background elements are stellar. Joel Fry in particular is fantastic as the steward and The Duchesses’s husband – he is just the kind of bumbling, passive man we expect from the play – and Whittaker embodies the headstrong feminist personality of The Duchess without missing a beat.

The Duchess (of Malfi) is a soap opera-filled revenge fantasy gone wrong, but you appreciate it for what it is. It isn’t supposed to reflect a Jacobean society, but the patriarchy, and toys with relevant ideas of suppression through religion and outdated societal ideas. See it for Whittaker and Fry, not if you’re obsessed with historical accuracy.

Sophie Humphrey
Photo: Marc Brenner

The Duchess (of Malfi) is at Trafalgar Theatre from 5^th October until 20^th December 2024. For further information or to book visit the theatre’s website here.

Watch the trailer for The Duchess (of Malfi) at Trafalgar Theatre here: