©The Globe/Sam Wanamaker Playhouse |
John
Ford’s 16th century, incestuous and blood splatter drama has made its way into the brand new,
beautiful and elegant candlelit jewel box of the Sam Wanamaker Playhouse. Its title 'Tis
Pity She’s A Whore plays a significant role than simply highlighting the
sensationalist and taboo nature of the play. ‘Tis Pity She’s A Whore’ is also the last line
said by the Italian Cardinal, which infers the religious context
that foreshadows the fate of the two siblings Annabella (Fiona Button) and
Giovanni (Max Bennett) who fall desperately in love despite social conventions.
Its
imaginative director Michael Longhurst, who won the Evening Standard Best Play
2012 Award for directing Nick Payne’s dazzling play Constellations, has managed to produce a delightful and minty
production which contain all the corruptive and blasphemous elements of Ford’s
world, that is, until we reach the final Jacobean blood bath scene. Yet even
when the gore spews on stage, the show shimmers with holiness no less enhanced
by the atmospheric candles that alight our little, 340-seater, golden playhouse.
©Sam Wanamaker Playhouse |
The
beauty of the Alex Lowde’s set is heightened by its musical ambiance composed
by Simon Slater with the use of Elizabethan
instruments; lutes viols, recorders, and unusual, eerie and sardonic sounds produced
by never-seen-before metal and steel percussion instruments to denote the bad omens
to come. Choral singing is also subtly incorporated to add irony to the impiety
of the naïve brother and sister.
The
play however has several suspense-driven subplots encompassing the incest
story, which makes the play fruitier and thrilling to watch; there’s never a dull moment. We have Bergetto (James Garnon), Grimaldi (Jethro Skinner), and
Soranzo (Stefano Braschi) all racing for Annabella’s hand in marriage; the
betrayal of Vasquez (Philip Cumbus) to Hippolita (Noma Dumezweni) who jilts her
into thinking he will marry her after he has murdered his master Soranzo, who
is also Hippolita’s past-lover; and the in-the-dark murder of innocent Bergetto
who Grimaldi mistakes for Soranzo. Most of all, there’s the parallel slapstick comedy
to balance the misfortunes, all carried out in the first half of play, by Poggio
(Dean Nolan), Bergetto, Donado (Sam Cox) (who is Bergetto’s uncle), and Annabella’s maid
and tutoress Putana (Morag
Siller).
There
are bucket loads of stagecraft to marvel at too. This includes the cleverly
executed sword fight scenes, which are choreographed to look as wicked as real
fights, the alluring contemporary dances, and semi-Elizabethan, semi-contemporary
costumes designed by Jemima Penny. The standard of talent and theatrical acting
is exceedingly high; knifes stabbing into one another appear so genuine that audiences
would think that murder had taken place at The Globe but this is quickly rectified
by the ensue of poetic dialogue and gallons of fake blood flowing out of the woody Sam Wanamaker
stage.
[Left to Right: Richardetto (Daniel Rabin), Giovanni (Max Bennett), Cardinal (James Garnon) Donaldo (Sam Cox) & the lovers' father: Florio (Edward Peel) |
Bennett portrays an ardent and star-struck lover that turns into a jealous and blood
hungry anti-hero; the audience gasps as they see him hold a dagger
with Annabella’s pulsating heart in his hand. This cleverly compares with
Button’s ability to bestow a passive and vulnerable Annabella whose tender
naturalism is sullied by her clandestine relationship with her brother. It begs
the question as to whether she would have fallen for her brother if he hadn’t
had confessed his love first. Garnon's ability to transform from the inexperienced and
scatterbrain Bergetto to the revered Cardinal with gold rings and red silks
robes is phenomenal as well. His funny and hobbit like Bergetto is mirrored by his
loyal and clowney servant Poggio played by Nolan. Cumbus’ hypocritical and semi-villainous
character Vasquez is quite new too. He provokes hatred even if his deeds are
done for selfless reasons. And straight shooter Braschi is our chauvinist noble
who does a handsome job of keeping the tension tense.
Longhurst's 'Tis Pity She’s A Whore is taboo, indecent, blood-gushing and
too good to be true. The production warns, ‘Contains nudity and scenes of a
sexual nature’ and there’s also an unsettling suggestion that Annabella is
pregnant with her own brother’s child, which can make the audience queasy. The
fact that Bennett and Button look like siblings doesn't help either. There’s a
lot to appreciate about the delightful stage and visuals; but be sure to go in
with a full stomach as there’s a plenty of Jacobean bloodletting that
transpires later on in the play.
This production is currently showing until the 7th December but tickets are selling fast. Click here to purchase tickets.
"Taboo, indecent, blood-gushing & too good to be true" 5 star review soon @The_Globe #Samwanamaker #TisPityShesAWhore pic.twitter.com/pua6aIIvpV
— Mary Grace Nguyen (@MaryGNguyen) November 13, 2014
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