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1 The Duchess of Malfi John Webster Teachers’ Resource Pack Researched & written by Katy Brooksbank
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The Duchess of Malfi John Webster
Teachers’ Resource Pack Researched & written by Katy Brooksbank
The Duchess of Malfi at The Old Vic 3
Biography of John Webster 4
John Webster Chronology 5The Duchess of Malfi - notable productions 5
Plot synopsis 6
Act Breakdown 7
Character Breakdown 9
About the real Duchess of Malfi 10
The Duchess of Malfi on the original Jacobean stage 11
Major themes within the text 13
The Skull Beneath the Skin – in rehearsal with Assistant Director Simon Evans 15
Designing The Duchess of Malfi – Interview with Soutra Gilmour 17Performing The Duchess of Malfi – Interviews with: Eve Best 20 Harry Lloyd 21 Finbar Lynch 22
Bibliography 23
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
The Duchess of Malfi Contents
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VerylittleisknownaboutthelifeofJohnWebsterincludingeventheexactdatesofhisbirthanddeath.HewasthesonofasuccessfulcarriagemakerinLondonandscholarssurmisethathewasborninapproximately1580,nearCowLane,Smithfield,intheparishofStSepulchre,wherethefamilybusinesswas.Hisfather,alsoJohnWebster,marriedhismotherElizabethCoates,ablacksmith’sdaughter,in1577anditisassumedtheirsonJohnwasbornnotlongafter,howeverparishrecordsweredestroyedintheGreatFireofLondonin1666,andassuchanyhardevidencehasbeenerased.ItislikelythatWebsterattendedtherespectedMerchantTaylor’sSchool(theguildofwhichhisfatherbelongedto)andthenwentontostudyasastudentoflawattheMiddleTemple,London(oneoftheInnsofCourt)in1598.WewillneverknowforsurewhetherthisreallywastheplaywrightandpoetJohnWebsterwhowasregisteredashavingstudiedthere,butthisdoesseemfeasiblegivenhisconnectionstocertainTemplarsandhisknowledgeoflaw,evidentwithinhisplays.
PerhapsthefirstknownrecordofWebsterwassuppliedin1602bytheatreownerPhilipHenslowewhodescribeshiscollaborationonanow-lostplayentitledCaesar’s FallwithagroupofotherwritersincludingThomasMiddleton.ItwouldappearWebstercontinuedasahackwriterforseveralyears,learninghistradeontheproductionline,asitwere,whichkepttheJacobeanstagesuppliedwithnewplays.DuringhismanydecadesassociatedwiththeLondonstage,itishighlylikelythatWebsterwasalsoactiveinthefamily’sflourishingtransportenterprise,therebysupplementinghisrelativelysmallearningsasawriter.Webster’sfirstknownworksdatefrom1604duringwhichheadaptedandwroteanIntroductionfortherevivalofJohnMarston’sThe Malcontent,andcollaboratedwithThomasDekkeronThe Famous History of Sir Thomas Wyatt andthecomedyWestward Ho.Thesatirewas‘answered’byJonson,MarstonandChapmanwiththeirEastward Ho,thenonceagainWebsterandDekkerjoinedforcesinretaliationwithNorthward Hoin1605.ThehistoricalplayAppius and Virginia,writteninapproximately1627andaccreditedtoWebsterwasmostlikelyacollaborationwithThomasHeywood.
ItwouldseemWebster’sfirstsolooutingasaplaywrightwas The White Devil,whichlaterbecameknownasamasterpiece.ThiswasthenfollowedbyhisothermasterpieceThe Duchess of Malfi.TheformerwaspoorlyreceivedwhenitwasperformedbytheQueen’sMeninapproximately1608,butWebsterwasnotdiscouraged-whenitwaspublishedin1612,Websterincludedaprefacewhichattributeditsfailuretotheweather,theshoddyconditionofthetheatreandanaudiencehedescribedas‘ignorantasses’.Hisnextplay,The Duchess of Malfi,writtenin1614,wasmetwithfarmoresuccesswhenperformedbyarivalcompanytheKing’sMajesty’sServantsattheprivateBlackfriarsTheatre,therebyjustifyingWebster’sestimationofhisabilityasaplaywright.
InMarch1606,WebstermarriedSaraPeniallandnotlongafter,theirfirstchildJohnwasborn.ItisknownthatWebsterandPeniallwentontohaveatleastthreemorechildren,Margery,SaraandElizabeth,butagain,recordsoftheirbirthshavebeenlost.ThefollowingtwentyyearsyieldlittleinformationaboutWebsterotherthanthatitwasclearheneverreallyequalledthesuccessofhisfirsttwoplays.ItiscuriousandsomewhatofashamethatWebsterseemstohavefocusedmoreoncollaborationssincehiseffortsasasolowriterregisteredfargreateracclaim.
Unfortunately,assomuchofthelifeandworksofJohnWebsterhaseitherbeenlostordestroyedovertime,allwehavetogooniscircumstantialevidence.Therewillalwaysremainconflictingideasastowhenhisplaysandprosewerewritten.Whencross-referencingwhatlittleinformationwehaveonWebster,thereareoftensignificantdeviationsastodatesandplaces,andassuch,theinformationsuppliedhereshouldonlybeusedasanapproximateguide.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
JOHN WEBSTER BIOGRAPHY
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
Chronology JOHN WEBSTER’S Career
THE DUCHESS OF MALFI NOTABLE PRODUCTIONS
c.1580 – JohnWebsterisborninSmithfields,London.
c.1590 – WebsterattendsMerchantTaylor’sSchool.
1598 – EnrolsaslawstudentatMiddleTemple.
1602 – WebstercollaborateswithDrayton,Dekker,MiddletonandMundaytowriteCaesar’sFall.HewritesChristmas Comes But Once a YearwithDekker.
1603 – QueenElizabethIdies;JamesI(JamesVIofScotland)iscrownedKing.
1604 – WebsteradaptsandwritesintroductionforMarston’sThe Malcontent.HealsowritesLadyJaneandWestwardHowithDekker.
1605 – WebsterwritesNorthward HowithDekker.
1606 – WebstermarriesSaraPeniallandtheyhavetheirfirstchild,John.
1607 – WebsterwritesThe Famous History of Sir Thomas WyattwithDekker(possiblyareworkingofthe1604playLadyJane)
1608 – The White Devil(published1612),isperformedattheRedBullTheatre,London.
1610 – The Devil’s Law CaseMAYhavebeenwritten(possiblyin1619though)
1614 – WebsterwritesThe Duchess of Malfi,itisperformedtoaprivateaudienceattheBlackfriarsTheatre.
1616 – WebsterwritesGuise(exactdateandgenreoftheplayunknown)
1621 – WebsterwritesAnything for a Quiet LifewithMiddleton.
1624 – WebstercollaborateswithRowleytowriteCure for a Cuckold.HealsowritesKeep The Widow WakingwithFord,RowleyandDekker,andThe Thracian WonderwithRowley.
1625 – WebsterwritesThe Fair Maid of the InnwithFletcher,FordandMassinger.
1627 – WebsterwritesAppius and Virginia.
1634 – ItisbelievedJohnWebsterdiedbeforetheendof1634.
pre 1614 – FirstperformedbyKing’sMajesty’sServants,BlackfriarsTheatre
1618 – Performedagain.
1630 – Revivalatthe‘CockpitinCourt’,Whitehall,beforetheKing.
1662/68/72 – TheDuke’sCompanyoffemaleactorswithMrsBarryastheDuchess,MrsBettertonasBosola.
1707 – PerformedattheQueen’sTheatre,Haymarket.
1773 – AnadaptationofTheDuchessofMalfi(TheFatalSecret)performedinCoventGarden.
1850 – AnadaptationbyR.HHorneperformedatSadler’sWells.
1892 – AnadaptationbyWilliamPoelisperformed.
1919 – ThePhoenixSocietyperformsattheLyricTheatre,Hammersmith.
1924 – TheMarloweSocietyperformsatCambridge.
1945 – PerformedattheHaymarketTheatre,LondonwithPeggyAshcroftastheDuchessandJohnGielgudasFerdinand.
1960 – PeggyAshcroftreprisesherrolewithEricPorterasFerdinand,fortheRSC,Stratford.
1970 – JudiDenchistheDuchess,RichardPascoisAntonio,attheRSC,Stratford.
1980 – HelenMirrenistheDuchess,BobHoskinsisBosolaattheManchesterRoyalExchange.
1985 – EleanorBronistheDuchess,IanMcKellenisBosolaattheNationalTheatre,London.
1989 – HarrietWalteristheDuchessattheNationalTheatre,London.
2003 – JanetMcTeeristheDuchessattheNationalTheatre,London.
1504,Amalfi,Italy.Beforeabackdropofreligiousandmoralcorruption,thewidowedDuchessdefiesherbrothers’ordersnottoremarry.Thesubsequentatrocitiesinflictedonherandonthosesheholdsdeararetoomuchtobearbutasthehorrorsrepeatonthemselves,integrityandvirtueprevail.
TheplayissetinthecourtofMalfi(Amalfi),Italyinapproximately1504-1510.
TherecentlywidowedDuchessofMalfiisforbiddenbyherbrothers,theCardinalandFerdinand,toremarry.Defyingthem,sheseeksaclandestinealliancewithhersteward,Antonio.Heacceptsheradvancesandtheyaresecretlymarried.Meanwhile,theDuchess’brothersenlistBosola,arecentlyreleasedconvict,tomonitortheirsister’sactions.
NinemonthslaterandtheDuchessispregnantwithAntonio’schild.TheydisguiseherpregnancybutBosoladiscoverstheruseandinformsFerdinand,whoisoutraged.However,thebrotherschoosetorefrainfromrevengeuntiltheyknowwhofatheredthechild.
TheDuchessandAntoniohavetwomorechildrenbeforeFerdinandvisitshissister.FerdinandcontrivesalatevisittotheDuchess’bedchamberwhereheconfrontsherwithherindiscretions.Sherevealshermarriage,butnotwhoherhusbandis,andFerdinanddeclaresitunacceptable.TheDuchess,tosaveherhusbandAntonio,publiclycondemnsandexileshim,claimingthathefailedtopaycertainbills,therebyremovinghimfromharm.Sheplansonjoininghimshortlyinexile.
TheDuchessmistakenlytakesBosolaintoherconfidenceand,actingonhisadvice,shegoestotheshrineofLoretto,beforejoiningAntonio.Atthesametime,BosolatravelstoNaples,informingFerdinandoftheDuchess’plansandAntonio’srole.Ferdinandpursuesthem.
AfterreunitingwithAntonioandrevealingtheirmarriagetoherhousehold,theDuchess’staffdeserther.Bosola,clearlyintheserviceofFerdinand,bringsalettersubtlydemandingAntonio’sdeath.AfterBosolaleavescarryingherrefusaltoherbrother,theDuchessurgesAntoniototaketheireldestsonandescapetoMilan.
BosolareturnstotaketheDuchessprisoner.Oncecaptured,Ferdinand’srevengeontheDuchessisaseriesofhorribleindignitiesasheattemptstodrivehermadandpresentsherwiththehandofAntonio,declaringheandhersonaredead.Finally,onherbrothers’orders,BosolastranglestheDuchessandhertwoyoungestchildren.Inthelastmomentsofherlife,Bosolarepentshisinvolvement,revealingthatAntoniostilllives.BosolathenoverhearstheCardinalplottingtokillhimandsovisitsthedarkenedchapelinordertokilltheCardinalathisprayers.Instead,hemistakenlykillsAntoniowhohasjustreturnedtoMalfitoattemptareconciliationwiththeCardinal.BosolafinallymanagestokilltheCardinal.Inthebrawlthatfollows,FerdinandandBosolastabeachothertodeath.
Antonio’sfriendDeliobringsintheDuchessandAntonio’seldestson.Heisproclaimedrulerofthelandsheldbyhismotheranduncles.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
The Duchess of Malfi Synopsis
ACT ITheplayopensintheDuchess’audiencechamberinAmalfiwithBosolareturningfromhissentenceformurderinthegalleys.HeconverseswiththeCardinalbutthenspeaksbrieflywithAntonioandseemsnottotrusttheCardinal.AntonioBologna,thestewardoftheDuchess’household,whohasrecentlycomefromFrance,talkswithhisfriendDelioabouttheFrenchcourtandhisadmirationfortheFrenchkingwhohasrewardedthosewhohavebeenhonestandtrue.AntonioandDelioberatetheDuchess’brothers,theCardinalandFerdinand,findingthembothofanillanddeviousnature.AntoniopraisestheDuchessforhernoblevirtue.
FerdinandemploysBosolatospyupontheDuchessasheissetagainsthermarryingagainandwishestoknowherprivateintentions.FerdinandrecommendsBosolatotheDuchessastheProvisorofherhorseand,unawareofherbrother’splan,sheacceptsBosolaintoheremploy.FerdinandandtheCardinalmakecleartotheirsisterthattheydonotwishhertoremarry.
Despiteherbrothers’warnings,theDuchesssummonsAntoniounderthepretencethatsheisgoingtodictateherwilltohim.Sheconcealsherladyinwaiting,Cariola,asawitness.ItsoonbecomesapparentthattheDuchessisproposingtoAntonioandshebestowsonhimherweddingring.Antonioiswellawarethatherbrotherswillnotaccepttheirsister’smarriagetoamanbornoflowerstatusbuttheDuchessassureshimthatallwillbefine.CariolacastsashadowofdoubtonthemarriagebypityingtheDuchessforherpotentialmadness.
ACT IITheDuchess’palaceinAmalfi,ninemonthslater.Bosola,alone,musesthattheDuchessmaywellbepregnant.Heisalmostconvincedofthefactbutendeavourstogainproofbysparkingherpregnantappetitewithagiftofapricotsbelieved,atthetime,toinducelabour.TheDuchessdoesindeedgointolabourandAntonio,realisinghehaslittletimetoconcealthis,inventsarusethattheDuchess’jewelsaremissingandthepalacemustbeshutuppresentlyandeachofficerconfinedtohischamber.CariolatellsAntoniothatheisthefatherofason.BosolathinkshehasheardtheDuchessinlabourbutisdiscoveredlurkingaboutthepalacebyAntoniowhoconfrontshimandaskswhyhecreepsaboutduringthecurfew.AntoniodropsanoteonhiswayoutwhichconfirmsthattheDuchesshashadason.BosolavowstorevealthistoFerdinandandtheCardinal.
TheactionthencrossestotheCardinal’spalaceinRomewhereitismadeclearthattheCardinalandJuliaarehavinganaffair.FerdinandburstsinwiththenewsBosolahassenthim.BothbrothersareappalledbythefactthattheDuchesshasgivenbirthandFerdinandvowstodiscoverwithwhomshehashadthischild.
ACT IIIAntoniospeakswithDeliowhoisnewlyreturnedfromRomewithFerdinand.AntonioexplainsthattheDuchesshashadtwomorechildreninhisabsence.TheDuchessenterswithFerdinand,whosuggestshehasfoundahusbandforher,CountMalateste.TheDuchessspurnsthisideaandinsistssheisstillnotmarried.BosolatellsFerdinandshenowhasthreechildrenandthathehasacquiredaskeletonkeytoherbedchamberssothatFerdinandmayspyonherandgetthetruth.
TheDuchessandAntoniospeakwithinherbedchamberswhilstFerdinandentersandconcealshimself.AntonioleavestheDuchessandFerdinandrevealshimself,forcingthehandoftheDuchesstoadmittowhomsheismarried.TheDuchessdefendsAntonioandherchoiceinmarriagebutFerdinandvowsnevertoseteyesonheragain.BosolaenterswithnewsthatFerdinandhasfledtoRome.TheDuchess,forthesakeofAntonio’ssafetyconcoctsastoryforBosolaindicatingAntoniohasbeenfalsewithheraccountsandhemustbeexiledtoAncona.BosoladoesnotbelievethisandspeaksofAntonioasagoodandhonestman,thuspromptingtheDuchesstoconfideinhimoftheirsecretmarriage.BosolaknowshemustpassthisinformationontoFerdinandandisleftonstagetocontemplatehisroleasaspy.
BosolatheninterruptsameetingattheCardinal’spalaceinRomewithnewsoftheDuchess.TheCardinalbanishestheDuchess,AntonioandtheirfamilyfromAncona.Later,inapalaceinLoreto,theDuchessandAntonioreceivewordoftheirbanishmentandBosolabringsforthaletterfromFerdinandindirectlystatinghewantsAntoniodead.TheDuchesstellsAntoniototaketheireldestsonandfleetoMilanforsafetyasshefearsherbrothers.BosolaandguardsthentaketheDuchessandhertworemainingchildrencaptiveundertheorderofherbrothers.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
THE DUCHESS OF MALFI ACT BREAKDOWN
Act IVTheDuchess’palaceinAmalfinowservesasherprison.FerdinandenterswithBosolaandistoldhowbravelytheDuchessisdealingwithherimprisonment.ThisisnottoFerdinand’ssatisfactionandheasksBosolatotelltheDuchesshewishestospeakwithherbutinthedark.FerdinandenterstheDuchess’roomwhichhasbeendarkenedandpresentsherwithadeadman’shand,makingherbelieveitisAntonio’s.HethenleavesBosolatopresentherwithimagesofafakeAntonioandherchildrenasiftheyweredead.Shebelievesthemandherdespairissodeepthatsheresolvestodie.HersituationaffectsBosolagreatlyandwebegintoseesignsofhisguiltandremorse.TheDuchessandCariolaspeakofthedreadfulnoisestheyhearechoingthroughoutthepalace.ItisthatofmadmenwhichFerdinandhasplacedwithininordertosinktheDuchessintogreaterdespair.TheDuchessinsiststhathearinggreatergriefcanonlyservetolessenhers.Bosolare-entersdisguisedasatomb-makerandtellstheDuchesssheistodie.HerresolveisstrongandshetellsBosolaandtheexecutionerstostrangleherwell,whichtheydo.Cariolare-entersandisstrangledtoo.Ferdinandentersand,seeingthebodyoftheDuchessandherdeadchildren,isindespair.BosolafearsFerdinandwillturnonhimanddemandspaymentforhisatrocities.FerdinandquestionswhyBosolafollowedhisorderstokilltheDuchesswhenhewassoobviouslyupsetandsaystheonlypaymentBosolawillreceivewillbetonotbeputtodeathforthemurder.AfterFerdinandleaves,theDuchesswakesbriefly.Bosola,inafinalactofremorse,tellstheDuchessthatAntonioisnotreallydeadandthatheshallpassherbodyontothecareofgoodwomenofthetown.TheDuchessdies.
Act VOutsidetheCardinal’spalaceinMilan.AntoniospeakswithDelioabouthishopesforareconciliationwiththeCardinal,unawarethattheDuchessisdead.Deliowarnshimagainstthis.Later,insidethepalace,adoctorhasbeensummonedtoinvestigateFerdinand’ssupposedlycanthropia-henowbelieveshimselftobeawolfanddigsupdeadbodiesatnight.TheCardinalandthedoctorconfrontFerdinandwhoisseeminglymadandattackshisownshadow.TheCardinal,whilstkeepingquietabouthispartintheDuchess’death,assignsBosolawiththetaskoffindingAntonioandslayinghim.WhenBosolaleaves,heisaccostedbyJuliawhoaccuseshimofhavinggivenheralovepotiontomakeherfallinlovewiththeCardinalandthreatenstokillBosolatoendherlove.BosoladisarmsJuliaandaskshertogatherevidenceontheCardinalforhim.JuliaconcealsBosolaastheCardinalenters.JuliaforcesinformationoutoftheCardinalregardinghispartintheDuchess’deathbutmakesherswearnevertotell.Hehandsherapoisonedbibletokissandshedies.BosolarevealshimselfandconfrontstheCardinalbutmaintainshewillstillkillAntonioandwillalsohelpdisposeofJulia’sbody.TheCardinalgivesBosolaamasterkeytothepalacebutonceBosolaisaloneagain,heswearstoprotectAntonio.
Later,outsidethesamepalace,DelioandAntoniospeakneartheDuchess’tomb.TheyareinterruptedwithsupposedechoesoftheDuchess.DelioleavestofindAntonio’seldestsoninthehopethattheCardinalmayfindmercyandcompassionwhenheseeshisnephewandthuspardonAntonio.
Insidethepalaceagain,theCardinaldissuadesthecourtiersfromkeepingwatchoverFerdinand.HetellsthemnottocometoFerdinand’saidiftheyshouldhearanything,asheknowsthattheymayhearAntoniostrugglingwithBosola.Theyleavereluctantly.BosolathenenterstoheartheCardinalplottinghisdeath.Antonioentersinthedark,unawareofBosola’spresence,totryagainwiththeCardinal.BosolastabsAntonio,believinghimtobetheCardinalandishorrifiedbyhismistakebutmanagestotellAntonioofthedeathoftheDuchessandherchildren.Antonioishappytodieinmiserysincethereisnothingleftforhim.BosolaresolvestokilltheCardinalandtellshimthisasheenters.SincetheCardinalhasgivenordersfortheguardsnottoapproachiftheyhearscreams,theCardinalrealisesheisatthemercyofBosola.BosolastabstheCardinal,thenFerdinandburstsinandalsoattackstheCardinal,woundingBosolaaccidentally.BosolastabsFerdinand.Theguardsre-enteramidthecommotion.TheCardinaldies,thenBosola.DelioenterstoolatewithAntonio’seldestsonandlamentswhathaspassed,vowingtoestablishtheyoungmaninhismother’srightandmakinghimrulerofhismotheranduncles’lands.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
The DuchessSistertoFerdinandandtheCardinalandrecentwidow.Sheisdescribedashavingasweetcountenance,noblevirtueandatendernessandwarmththatherbrotherslack.Sheiswitty,cleverandneveroutsmartedindialoguebyherbrothers.ShemarriesbeneathherandhasthreechildrenwithAntonio.Herdignifieddeathshowsthecontrastwithherbrothersandthecorruptionofthecourtthatsurroundsher.
The Cardinal ThebrothertoFerdinandandtheDuchess.HeisacorruptofficialoftheRomanCatholicChurch,whoseintentsmirrorFerdinand’sinhisdesireforhissisternottoremarry.HisknowsaboutBosolaspyingontheDuchessalthoughothersremainignoranttohisplotting.
FerdinandTheDukeofCalabriaandtwinbrotheroftheDuchess.Heisanirrationalandtempestuousman,oftengiventofitsofragedisproportionatetothe‘offence’inquestion.Heisinvehementoppositiontohissisterremarrying,largelyduetogreedasuponherdeath,hewillreceiveherassets.Afterseeinghisdeadsister,heregretshiringBosolatokillherandeventuallyloseshissanity,believinghimselftobeawolf.
Cariola TheDuchess’waiting-woman.SheisprivytotheDuchess’secretsasshewitnesseshermarriageandhelpsdeliverherchildren.SheisstrangledbyBosola.
Julia WifeofCastruccioandmistressoftheCardinal.ShediesatthehandsoftheCardinalbykissingapoisonedbible.
CastruccioAnoldlordwithamuchyoungerwife,Julia.
DoctorSenttocureFerdinandoflycanthropia.
Daniel de Bosola AformerservantoftheCardinal,nowreturnedfromasentenceformurder.BosolaissentbyFerdinandtospyontheDuchessandiseventuallyinvolvedinthemurderoftheDuchess,herchildren,Cariola,Antonio,theCardinalandFerdinandhimself.AshewitnessesthegraceandnobilityoftheDuchessfacingherdeaths,hehasachangeofheartasguiltoverwhelmshimandhethenseekstoavengeher.
Antonio BolognaAntonioisthestewardoftheDuchessofMalfi’spalaceandhasrecentlyreturnedfromFrance.Honestbynatureandagoodjudgeofcharacter,heisfullofscornfortheItaliancourtierswhomheseesasmorecorruptthantheFrench.InacceptingtheDuchess’marriageproposal,hedoesbecauseofhercharacterinsteadofherbeauty.Hetakesneitherhertitlenorhermoneyandletstheirunionremainasecret,asheisawareherbrotherswillthinkillofhermarryingbeneathherself.HelacksdynamismandseemsunremarkableincomparisontotheDuchess.
MalatesteAcourtieroftheCardinal’scourt.Hisnametranslatestomean‘headache’.AtonepointFerdinandreferstohimasapotentialsuitorfortheDuchess.
Delio AcourtierwhoisthefriendandconfidanteofAntonio.HeknowsthesecretsofAntonio’smarriageandofhischildren,andinmanywaysactsasthenarratoroftheplay.
PescaraAmarquis.
Rodergio, Grisolan, Silvio Courtiers.
Officers & executioners
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
The Duchess of Malfi Character Breakdown
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
ABOUT THE REAL DUCHESS OF MALFi
BoththeDuchessandAntoniowere,infact,realhistoricalfigures.BornGiorvannad’Aragon,theDuchesswasmarriedin1493attheageof12toAlfonsoPiccolomini,sonandheirofthefirstDukeofAmalfi.PiccolominisucceededtotheDukedomin1493butdiedofgoutin1498.TheDuchesswasleftwidowedwithasonanddaughterandruledMalfiasregentwithconsiderablesuccess.DespiteFrenchandSpanishinvasions,thestateflourished.TheDuchesswasabletopayoffdebtsincurredbyherlatehusbandandliveprosperously.Shehadasisterandtwobrothers,theeldestofwhomhadapromisingcareerasasoldierbeforeenteringthechurchandbecomingacardinalin1494.
AntonioBolognawasbroughtupinthecourtofNaples.HeservedFederico,thestate’slastAragoniankingandfollowedhismasterintoexileinFrance.UponFederico’sdeath,AntonioreturnedtoNapleswherehewasofferedthepostofmajor-domo(masterofthehouse)inthehouseholdoftheDuchessofMalfi,whoherselfwasoftheRoyalHouseofAragon.TheyoungwidowfellquicklyandpassionatelyinlovewithAntonio.Fearingthewrathofherbrothers,theCardinalLodovicoandCarlo(Webster’sFerdinand),shemarriedAntonioinsecret,withherwaitingwomanasthesolewitnesstotheceremony.Inreallife,asinWebster’splay,theirmarriagewassuccessfullyconcealedforsomeyears.Thebirthoftheirfirstchildwentundetectedbutthebirthofthesecondcausedrumourswhich,reachingtheearsoftheAragonianbrothers,ledthemtosetspiestowatchtheirsister.AntoniotookhistwochildrentoAncona,leavingtheDuchess,whowasagainpregnant,inherpalace.Unbearablylonely,shefoundanexcusetosetoutonapilgrimagetoLoretto,fromwhencesheproceededtojoinAntonio.UponherarrivalinAncona,sherevealedhermarriagetoherhouseholdanddeclaredthatshewouldrenounceherrankandtitletoliveprivatelywithAntonioandtheirchildren.OneofherastonishedservantssetouttoinformtheCardinalwhathadhappened.TherestdesertedherandreturnedtoAmalfi.
AtAnconawheretheirthirdchildwasborn,theDuchessandherhusbandwereallowedonlyafewmonth’speacebeforetheCardinalofAragonputpressureonCardinalGonzaga,LegateofAnconatobanishAntonio.Havingforeseenthis,AntoniohadmadepreparationstotakerefugewithafriendinSiena.Assoonasthedecreeofhisbanishmentwasissuedin1511,hesetoutwiththeDuchessandtheirchildren,thusevadinganyattemptthatmighthavebeenmadetocaptureormurderthem.
TheCardinal,continuingtoexerthisinfluenceagainstthem,persuadedtheheadofSignioryofSienatoexpelthem.Thistime,Antonioandhisfamilydidnotdepartsoquickly.OntheirwaytoVenice,theywereinterceptedbyhorsemen.Byassertingthatherbrotherswouldnotharmherinperson,theDuchesswasabletopersuadeAntoniotoescapewiththeireldestchild.TheyarrivedsafelyinMilan,probablyinthelatesummerof1512.ThereisnoevidencetoconnecttheAragonianbrotherswiththedeathoftheDuchessbutafterbeingtakenbacktoherpalaceinAmalfi,neithershe,hertwoyoungestchildrennorherwaitingwomanwereeverseenagain.Antonioforthwithwasconstantlywarnedthathislifewasindanger,onewarningcomingfromamannamedDeliowhohadheardAntonio’sstoryfromaNeopolitanfriend.InOctoberin1513,DelioandacompanionpassedAntonioontheirwaytomass.Afewminuteslater,anuproarwasheard.Lookingback,DelioandhisfriendrealisedthatAntoniohadbeenstabbedtodeathbyaLombardcaptaincalledDanieledeBozolaandthreeaccomplices.Allfourescaped.
Alfonso,theDuchess’sonbyherfirstmarriage,ruledasDukeofMalfiuntilhisdeathin1559.
‘Jacobean’derivesfromtheLatinword‘Jacobus’whichtranslatesto‘James’inEnglish-hencethe‘Jacobean’erareferstotheperiodinEnglishandScottishhistorywhenJamesVIreigned.HewasKingofScotsattheageofthirteenmonthsin1567followinghismother’s(Mary,QueenofScots)abdication.HebecameKingofEnglandandIreland,asJamesI,inMarch1603(untilhisdeathin1625)followingtheunionoftheEnglishandScottishcrownsandafterthedeathofthelastoftheTudormonarchs,ElizabethI.UnderJamesI,the‘GoldenAge’ofElizabethanliteratureanddramacontinuedwithwriterssuchasShakespeare,Donne,JonsonandlaterWebster,contributingtoaflourishingliteraryculture.Thisofcourse,wasallhappeningjustaftertheEnglishReformation(1517-1564).Foreignsettings,asinThe Duchess of Malfi,alloweddramatiststoexploreinflammatorypoliticalandsocialissuesofthedayinrelativesafety,withgeography,religionandtimecreatingampledistanceandremovingimmediacy.IntheinflatedcharacteroftheCardinal,ontheotherhand,WebsterwasabletoreflecttheworstevilsofritualisticRomanCatholicism.SincetheReformationandEngland’ssplitfromRome,ItalyhadbecomeassociatedwitheverythingthatwasdeemedcorruptandWebsterincludedeverythingthatwouldhavebeenviewedasabhorrentbyaJacobeanaudience.
Accordingtoitsoriginaltitlepage,The Duchess of MalfiwasinitiallyperformedatboththeBlackfriarsTheatreandtheGlobe,quitelikelyduringthesameyear,astheGlobewasusedforthewarmermonthsandtheBlackfriarsforlateautumnandwinter.TheveryfirstproductionprobablystartedoutattheBlackfriarsTheatre,astheGlobewasbeingrebuiltafterafireandwasunavailableuntilspring1614.Recentresearchsuggeststhattheplayingconditionsatthesetwovenuesmaynothavebeenasvastlydissimilartooneanotherastheatrehistoriansoncethought.AlthoughsmallerandfarmoreintimatethantheGlobe,theBlackfriarsTheatre,withacapacityofapproximately600,hadmanyaspectsofitakintotheGlobe.Bothplayhouseshadstagesthatwerelargelybareofpropsandsceneryandbothhadupperplayingareasandacurtainedorscreened‘hiding/discoveryspace’attherearofthestage.Thisspacewouldhavebeenused,inThe Duchess of Malfi,toconcealCariola,possiblyBosola,andwasalmostcertainlyusedforthehighlytheatricalandgruesomerevelationofthewaxencorpsesofAntonioandtheDuchess’children.
ManytheatrehistorianshavetendedtopresumethatanotherreasonthatthetwoplayhouseswouldhaveproducedverydifferentversionsofThe Duchess of MalfiwasthattheprivateBlackfriarsTheatrehadagreaterpotentialforsophisticatedtheatricaleffects.Firstly,itwasanindoortheatrewhichallowedfarmoreintermsofbothlightinganddarkeningthespacethroughblackingoutthewindows.TheBlackfriarsTheatrealsotendedtousemusicasanindicationofthepassingoftimebetweenacts,butinactualfact,researchsuggeststhatby1613-14,theGlobehadadoptedtheBlackfriarscustomofdividingplaysintofiveactswithmusicbothbeforetheperformanceandbetweentheacts.AlthoughtheGlobewaslitbydaylightandtheBlackfriarsTheatrebyacombinationofdaylightandcandlelight,neithervenueallowedformorethanthemostminimalcontrolofambientlightingonstage.Anysignificantlightingchangesessentialtotheplot,suchaswhenFerdinandvisitstheDuchessindarkness,wouldsimplyhavebeenindicatedbythebringingordimmingofatorchorlanternandnotbyanydramaticchangesintheleveloflightingonstage.ThelessenedvisibilityattheveryrearofbothstageswouldalsohaveusedtoadvantageinscenessuchaswhenBosolaaccidentallystabsAntonioinhisfailuretorecognisehim.AtboththeBlackfriarsTheatreandtheGlobe,playswereusuallystagedduringtheafternoonandthevisceraleffectoftragedyonstagemaywellhavebeenenhancedatbothvenuesbythegradualsettingofthesunastheplaydrewtoaclose.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
THE DUCHESS OF MALFI THE JACOBEAN STAGE
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The Duchess of Malfi – Teaching ResouRces
TheGlobeandtheBlackfriarsTheatreattractedverydifferentaudiencesfromoneanother.Thelatter,situatedwithinthecityofLondonitself,chargedhigherpricesandwasmoreeasilyaccessibletothewell-off,thefashion-consciousandtostudentsoftheInnsofCourt,whereWebsterhimselfpossiblyoncestudied.TheGlobe,onthesouthsideoftheThames,wascheaperandtendedtoattractcitizensandtheirwiveswithasmallerquotientofgentlemenandtheirladies,gallantsandcourtiers.TheRedBullTheatreinClerkenwell,whereWebster’sThe White Devilpremiered,wasthoughttohavedrawnsimilaraudiencestothatoftheGlobe,perhapsexplaininginsomepartwhyWebster’sfirstworkwasnotreceivedwell.Thelarger,open-airtheatresallowedforafarmorediverserangeofpatronageandonethatwasperhapsnotaswelleducatednorasattentiveasWebsterhadhopedfor.
UntilthereignofCharlesII,in1630,alltheatricalperformanceswereplayedoutentirelybycompaniesofmenonly.Thesecompaniesoftenconsistedofadolescentboyswhowerecommonlycastinthefemaleroles.Indeed,whenThe Duchess of Malfiwasfirstperformedinapproximately1614,thetitlerolewasmostlikelyplayedbyDavidCarnegie,aboyactorwhowasalreadyplayingwomen’sroleswithinthecompanyduringtheperiodinquestion.RichardSharpereprisedtheroleafewyearslaterattheageofaboutfourteen.Thisseemsanundeniablyostentatiousanddauntingtasktoundertakeforonesoyoung,butthepracticewascommonplace-youngerboysfulfillingthefemalerolesofthetimewhilsttheystillhadsmallerframesandamorefemininevocalrange.TheproductioncoststhroughoutmuchoftheRenaissancetheatrewasrelativelylow.Minimalstagesceneryandpropswereusedandasdiscussedearlier,moderndaytheatricaleffectssuchassoundandlightingweresimplynon-existent.Thealmostsolefinancialexcessofthetheatrewascostuming.Lookingthepartofaking,anobleman,alordorapriestwasintegraltomanyoftheplaysatthetimeandperhapsmostimportantlyelaborategownsandcloakswereusefultodisguiseinsomewaythesmallerboysplayingwomen.Indeedmuchofacompany’swealthcouldbefoundwithinitscostumery.
Although,inreality,theBlackfriarsTheatreandtheGlobespacesmaynothavedifferedasdramaticallyasoncethought,itdoesseemlikelythatWebsterwroteThe Duchess of MalfiwiththeBlackfriarsTheatreinmind.Giventhedarkandbrutalnatureoftheplayandthemanyinstanceswherebythecharacterssimplydonotseeorrecognisethingsorevenoneanother,themoreenclosedandslightlydimmeratmosphereoftheBlackfriarsTheatrewouldseemtohavebeenamoresuitablehostforsuchwriting.
ItisthoughtthattheMermaidTheatreinPuddleDock,Blackfriars(nowtheMermaidConferenceCentre),builtin1951,standsonorverynearthegroundswheretheBlackfriarsTheatreoncewas.Almostdirectlyoppositeitisofcourse,theGlobe.
WithinThe Duchess of Malfi,perhapssomeofthestrikingthemesaredeathandviolence,honour,andpower.Althoughdepictedwithinamuchheightenedandextraordinarystory,thesethemesstillresonatetoday.
Violence and DeathContinuingthetrendsetbytheElizabethantragedies,Jacobeantheatreaudiencesappearedtohaveasomewhatmorbidobsessionwithdeath,violenceandthemacabre,andWebstercertainlydidnotfailtodeliverwithThe Duchess of Malfi.Attheheartoftheplay,theDuchessherselfappearstorepresenttheveryepitomeofcourage,braveryandanunyieldingvirtueandtendernesswhilstallaroundherarevolatile,corruptanddevious.Herbrothers,theCardinalandFerdinand,arefromtheonsetcold,calculatingandmanipulative.Websterinstilsthesetraitsnotonlytoenhancethenobilityofhisleadingheroinebuttowhethisaudience’sappetitefortheundoubtedlygruesomeactstofollow.ItisthisjuxtapositionbetweenhismaincharactersthatperhapssetsasideWebsterfrommanyofhiscontemporaries;The Duchess of MalfiisnotmerelyarevengetragedysatiatingtheJacobeans’loveofdeathanddisaster,butaninterestingcharacterstudyofvirtue,integrityandlovewithinastateofflux.Websteralsomanagestooverturnclassicalconventionsbyfocusinglargelyonwomenandtheirexpectedrolewithinsociety.
ItcouldbesaidthatinmanywaysthecharacterofBosolaendsupasanechooftheDuchess’integrity,albeitaveryconvolutedone.Hehateshimselffortheeasewithwhichhecanbeboughtandmadecomplicitwiththingshedespisesbutheseemsunabletocurbhisownobsessiveenactmentofthedesiresofthosewhopayhim,untilitistoolate.Hisrepeatedself-condemnationoverthemoralcompromiseshemakesthroughhisdutiesassecret‘intelligencer’fortheCardinalandFerdinandfiguresasimilarcomplicitywiththeplay’sspectaclesofviolenceonthepartoftheaudienceandtheplaywright.Websterusestheatretoexposethemoralbankruptcy-theiconicdisplayofmutilatedbodiesandthecourtlyantimasqueofmadmen.Buttheveryenactmentsthatexposethecorruptoriginsofspectaclealsoexploititspotentialtoentertaintheaudience.Webster’splay,likethereluctantlyparasiticBosola,dependsforitslifeontheverycorruptionthatitsimultaneouslyholdsupforrevulsion.Welovetowatchandhateourselvesforlovingit,andweoweourrecognitionofthecontaminationofourresponseinlargeparttotheself-contemplationofBosola,whoiscuriouslymoderninhisinsightsevenashealsospoutsplatitudesofoldfashionedmorality.ItisthisthrillofwitnessingatrocitiesplayedoutliveonstagethatsetapartWebsterfromhiscontemporaries;The Duchess of Malfiisstillreferredtoastheplay‘whereeveryonedies’.Itcouldbearguedthatwedonotnecessarilyneedtoseesixpeopledieonstage,noraseveredhandandseeminglyrealwaxencorpsesbutthespectaclefeedsourappetiteforthegruesomeasitdidwithaudiences400yearsago.Asamodernaudienceand,duelargelytoalackofregulationwithinthemedia,wehavebecomedesensitisedtovisualimagesassociatedwithdeathandviolence,yetifaplaytransportsusbackintime,asThe Duchess of Malfidoes,wecanstillappreciatethehorridthrillthataJacobeanaudiencewouldhaverelished.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
THE DUCHESS OF MALFI MAJOR THEMES
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The Duchess of Malfi – Teaching ResouRces
Honour, Faith and Power TheviolencewhichunfoldsasadirectresultoftheseeminglypreposterousandessentiallyunfairidealsofhonourconcerningtheDuchessandherbrothers,infactholdsamirroruptosocietytoday.Thebrothers’deep-rootedanguishatthethoughtoftheirsistermarryingbelowherclassissovehementlypresentfromtheonset,thoughwe(asamodernaudience)perhapsstruggletounderstand,yetitundeniablyechoes‘honourkillings’today.ThisgivesusaglimpseintoasystemofbeliefwhichisunwaveringinitsstrengthandonethatwasclearlypresentatthetimeWebsterwrotehisplay.Thedawnofthe17thcenturyusheredinrapidsocialandpoliticalchangetonorthernEurope.WhilearecognisablymodernviewoftheworldhadbeenstrugglingagainsttheinheritedlegacyofmedievalChristianitythroughoutthe16thcentury,theearlydecadesofthe17thwitnessedanunstoppableperiodoftransformation.ThenewProtestantchurcheshadestablishedthemselvesasseriouschallengestothetheologicalandpoliticalclaimsofRomanCatholicism.Differentpeoplereactedtothis,andotherwide-rangingchanges,indifferentways.Somebecamereligiousextremists,preparedtokillanddiefortheirtheologicalbeliefs.Someactivelyindulgedinthespeculativedelightsoftheneweconomy,gettingrichquicklybyclimbingoverorotherwisedisposingofhumanandmoralobstacles;othersangrilyralliedagainsttheunfairnessandimmoralityofthisearlyformofcapitalism.InEngland,somewentoutoftheirwaytomaintainwhattheybelievedtobetheancientdignityofthesystemofsocialclassandinheritance,withitsconcentrationofultimatepowerinthefigureofthemonarch;othersmountedaviolentlyradicalchallengetothefoundationofthatsystem.Thisworldofreligious,economicandpoliticaluncertainty,then,wasthecontextinwhichJacobeantragedyemerged,enjoyinganinitialperiodofexplosivepopularity.
Thestubbornassumptionsoffaith,beliefandaparticularmoralcodeareindeedstillpresenttoday,sothescornoftheDuchess’brothersandtheirconcretedeterminationtoupholdtheirfamily’shonourmaynotbeasfarfetchedasperhapsitwouldseem.TheircrueltythereforeservesasbothadramatictooltoheightentheintegrityofWebster’sheroinebutalsogivesamoderndayaudienceaninsightintothehorrorthatultimatepowerandcontrolwithinafamilycanleadto.Asapriorjuxtapositiontothishowever,Websterputsthepowerstructureinafreshlight;theunusualsightofawomanwieldingmaleprivilegesmakesstarklyapparentwhattheacceptedstructuresareandhowtheyworknormallytoprivilegemen-especiallysowhenmalesarerepresentedassopassionatelyhostileandoppressiveasherbrothersarehere.Thisgenderrole-reversalofpowercanalsobeseenthroughAntonio-heisexposedtothesocialandculturalsubjectioncommonlyexperiencedbywomen;astheDuchesssetsouttowoohimshereversesthegender-rolesinwhichthemantakestheinitiativeincourtship.Indoingso,shealsobreaksthesocialandpoliticalconstraintsthatrequirethoseofnoblebloodtomarrytheirequals.
Incest Incasewaxencorpses,severedhands,‘werewolf-ism’andadulteryweren’tenough,The Duchess of Malfialsotouchesonincestuousrelationships.Ferdinandisstrangelyenamouredwithhissisterwhilstatthesametimespurningherforherpowerandthedecisionsshemakes.Hisincestuouslongingsappeartobeborneoutofgreed.Heisanoverwhelminglyvolatileandpassionatecharacterandthesheerstrengthofhisemotionsattimesleadstocompletedesireofhissister.Acontroversialandtabootopic,Webster’sintentionsbyincludingsuchasuggestionseemtoindicate,yetagain,theJacobeans’hungerforthestrangeorgrotesque.Ferdinand’sincestuousdesiresareonlyhintedatwithinthetexthowever,sothetruenatureofthem,ortheirbackstoryasitwere,isneverfullydisclosed.WecanonlyassumethatinamansuchasFerdinandhisgreedandanimalisticurgesstretchtoencompassanddominateallthoseinhispath;andinthiscase,thestumblingblocktohisomnipotentpowerandwealthistheDuchessherself.ThefabulousimageryassociatedwithFerdinandbeingafflictedbylycanthropiaonlyservestoheightenthisgreed.
Thesettingisincongruous.TheOldVicrehearsalroomisfullofoptimismandspringsun,nottomentionthesmellofcroissantsandfreshcoffee,asDirectorJamieLloydwelcomescastandcompany.After50peopleintroducethemselvesinarapid-fireroll-call,welisten,rapt,whileJamiedescribeshispassionforJohnWebster’s‘dark,sexy,violentandcruelmasterpiece.’Heconveyshisprofoundrespectfortheplaywright’swordsandhisintentiontounlockthemesofclass,nobilityandambitionthatareintegraltotheplay.Wemurmurappreciatively,mentallycheckingoffthehorrorsthenarrativehasinstoreforus,untilJamiestopsusinourtracksbyaddinghowmuch‘hope’hehasfoundintheplay.
Hopeandnobilityseem,totheassembledcompanyatleast,strangewordstouseinconnectionwithWebster’snihilisticandprimalpiece.Intheearly19thcentury,CharlesLambhadcautionedWilliamHazlittabouthisdesiretomountaproductionofThe Duchess of Malfi,statingthatthehorrorsdepictedweresevere.It‘touchesthesoultothequick,’hewrote,and‘laysuponfearasmuchasitcanbear’;indeedsotroublingwastheconsideredsubjectmatterthattherehadnotbeenaLondonproductionforalmost100years.Thelastrecordedstaging,inanadaptationbyLewisTheobald,titledThe Fatal Secret(1735),hadfollowedNahumTate’sKing Learexamplewithanalteredending,allowingtheDuchessandAntoniotosurvive(withbrood)andheadoffintotheMediterraneansunset.ButtheplayhadnocouragewithoutWebster’sendinganditwasn’tuntil1850thatanotherheavilyrevisedversionwouldplayinLondon,thistimeatSadler’sWells.Indeed,itwasreallyTSEliotwhoreturnedWebstertothespotlightinthe1920s,praisinghim(inapoem)forhiscapacitytosee‘theskullbeneaththeskin’ofman.
ThisobsessionwithdeathinfusesmuchofWebster’swork,imbuingthecharacters,environmentsandlanguagewithafatalisticquality.Jamie’sexpressionof‘hope’,therefore,seemsinappositeonthisfirstday,especiallywhenwecrowdaroundSoutraGilmour’smodelbox,anatmosphericandskeletalmeshofspiresandbeamsinwhichspiesandshadowscanvieforspace.Thenthereishermoodboard,athreateningcollectionofcarnivalmasksandhoodedfiguresevokingthisdanse macabreMalfi.
Butassoonasthepastriesareclearedandrehearsalsbegin,itbecomesapparentthatJamie’sapproachisgoingtocallintoquestionmanyofourpreconceptions.Webster’swordsshallbebroughttothefore,saysJamie,withhislanguage‘thebiggestthingintheroom’.Thisisarefreshingand,possibly,controversialdecisionbecauseWebsterhasoftenbeenregardedasShakespeare’sslightlyvulgarsibling,deliveringthe‘pulpfiction’equivalentoftheBard’smoresubtlepoetry.Hisplotsaredrivenbyanalmostadolescentfascinationwithblood,dismembermentandincestwhilehisverseplaysfastandloosewithanyregularorestablishedmetricalsystem,thrustingfemininecadencesagainstmasculineendingslikealiterarydatingagency.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
THE SKULL BENEATH THE SKIN
AssistantDirectorSimonEvanstakesaudiencesbehindthescenestoofferaninsightintointenseandabsorbingrehearsalsforThe Duchess of Malfi.
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The Duchess of Malfi – Teaching ResouRces
Still,twoweeksintorehearsals,andtheimpactofJamie’sapproachilluminateseverysceneandcharacteraswebegintohearwordssooftenmumbled,sungorgenerallylostinelaboratestaging,declamationandinterpretation.Nowweareappreciatingthemestypicallyglossedoverinthemadrushtobloodshed.TwosessionswithvocalcoachBarbaraHousemanhelp,withthecompanyplayingandplyingtheverse,whilewespectatorshearthelanguagesoarandtheworkcometolife.TherearenoeditionsofNo Fear Webster(asthereareforeveryShakespeareplay)offeringamodern-Englishparaphraseoftheverse,andsynopsesusuallyskimoverhugepassagesofrevelatorylanguagetogettothemorenarrative-drivenmurdersandbetrayals;yet,underJamie’sguidance,wefindtheseedsoftendernessinMarkBonnar’slinessignificantlyearlierthanhischaracterBosola’ssupposedAct4volte-face.CloseworkunpickingthemeaningoftheatrocitiesthatFerdinandlistssographicallyleadsustoappreciatethatachillinglycleardeliverygivesHarryLloydmorepowerthanvolumeevercould,andwehangonEveBest’suseofWebster’scomplexmetreinherfinalscenes,enjoyingtherewardofunfetteredaccesstohercomplicatedDuchess.The Duchess of Malfiisaviolentplay,filledwithbarbarity,buttohearTomBatemanasAntoniointone,‘Shestainsthetimepast,lightsthetimetocome’,youhearbehindthewordsawritermorethancapableofholdinghisowninShakespeareancompanywhenitcomestocrafting‘vainpoetry’aswellas‘intemperateanger’.
InevitablythispursuitofpureWebsterraisesitsownproblem.Incontemporaryproductionswherehigh-conceptvisualsratherthannarrativedrivethestagingprocess,anaudiencemightsitback,contendedtolettheaestheticandmusicoftheJacobeanlanguagewashoverthem,oblivioustothecomplexitiesoftheoriginalstory,therebyrelievingacastoftheresponsibilityofunpickingdifficultquestionsthatinformthisplay.Jamie’sinsistenceonclearexposition,ontheotherhand,presentsthesequestionstotheaudiencedirectlyanddemandsthatwe,asacompany,findsolutions.Soitis,atthetopofoursecondweek,thatJamieagainspeaksofclass,socialhierarchyandambitionandsuggeststhatanunderstandingofthis,anditscrucialimportanceintheera,couldofferussomuchmoreaccesstothecharactersandtheiractions.SoIbeginsupplyingbackgroundinformationonthestructureoftheHolyRomanducalcourt,tossingoutphrasesgleanedfromBaldassareCastiglione’sguideThe Book of the Courtier(1528),whileAnnYeeuseshermovementsessionstoputtheseideasintophysicalexpression.WefollowwithRenaissancedancesessionswherelessonsinthepavanegiveaninsightintothestrictstructureofthesocialhierarchy,providingJamiewithfurtherdevicestointroducehis21st-centuryaudiencetoaworldwherehonourisnotanantiqueconcept,butalifeanddeathissue.Suddenlytheplayopensup,revealingitselftous.
‘Avisorandamaskarewhisperingrooms,Thatwereneverbuiltforgoodness,’Ferdinandadviseshissister,theDuchess.AsJamie’sstagingandthecompany’sunderstandingheighten,thecourtcorridorsof16thcenturyItalypresentthemselvestous,peopledwithprinces,courtiers,thetreacherousandthegreedy.‘Ambition...isagreatman’smadness,’AntonioobservesandinaCardinalwhourges‘noranythingwithouttheaddition,honour,Swayyourhighblood’,andaPrincewhopromisesto‘purgetheinfectedblood’ofhisfamilytree,wesuddenlyunderstandthemindsetbehindthebrothers’brutality;‘fortune’referstobothmoneyandthefuture,somenlikeAntonio,whoare‘toolowbuilt’,andaDuchesswho’s‘Grownanotoriousstrumpet’,become‘thestars’tennisballs,struckandbanded,Whichwaypleasethem’inthenameofhonour.
Suddenlythewallsarecoveredincontemporaryarticlesonhonourkillings.Thereportsofsisters,daughters,wivesandbabies,killedaroundtheworldbyfamilymembersinthenameofhonour(atleasttwoaweekinIstanbulaloneweread)sobertherehearsalroomentirely;weunderstandthatnothinginWebster’splayismoregrotesqueorviolentthantheworlditmirroredthenandstillmirrorsnow.
Andyet,Jamieremindsus,thereishope.Themorewereadtheplay,themorewerealisehowaptTSEliotwasinpraisingWebster’sabilitytoseetheskullbeneaththeskin.AsmuchasitreferstoWebster’sfascinationwithdeath,itisalsoametaphorfortherottenworkingsbeneaththeveneerofaRenaissancesocietythatheportrayssowell.InJamie’sworld,thesetwoconceptsmergetogetheraswesee,inBosola,agrowingunderstandingofdeathasthegreatlevellerofsociety’sartificialhierarchies.WearepresentedwithCardinals,Lords,Princes,Counts,DukesandDuchessesbut‘Whetherwefallbyambition,blood,orlust,Likediamonds,wearecutwithourowndust’.
SittingwithMarkBonnar,JamieexplainsthatBosolaeventuallyacceptsDelio’sobservationthat‘Integrityoflifeisfame’sbestfriend’.InthemidstofasocietycharacterisedbyWebsterascorruptandsuperficial,BosoladigsbelowtheskinandeventhroughtheboneuntilhemeetsandunderstandstheDuchess.‘Sheistheheart,’Jamiesuggests,‘oftheplayandthesociety’;infindingandunderstandingher,Bosolaisofferedanimageofpurevirtueandintegrityquitealientohisworld.
Sothereishope.Hopefully.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
SOUTRA GILMOUR Designer
What attracted you to designing The Duchess of Malfi?I’vealwayswantedtodoThe Duchess of Malfi.IthinkwhenIwasseventeenIdiditasanA-leveltextandIloveditforitsreallydensevisualimagery,allthereferencestonature,therichcoloursandtextures,andallofthosethingsthatwereinthelanguage;and,ofcourse,theheightened,extraordinarynatureofthestory.Itjustfeltlikesomethingthathadahugevisualworld.AtschoolIwasinterestedinHistory,English,ArtandtheHistoryofArtandThe Duchess of Malfiasatextsomehowspeakstoallofthoseideas.Itwasaplaythatreallysummedupmyinterestsandmyreasonsforgoingintotheatredesign.I’vespentthelast15yearsdoingnewwritingand20thcenturyplays,soassoonasitcameupasapotentialopportunity,IsaidIwouldabsolutelylovetodoit.
How does the designer/director relationship normally work for you?IfirstworkedwithJamieaboutsixyearsago;he’dseenalotofproductionswherehereallylikedmydesign,sowerealisedwehadacommoninterestandanemotionalconnectionthroughthework.It’sgreatformebecausethere’strustintherelationshipandfreedominitsoIcantakeaveryfront-footedapproachtohowtheproductionisgoingtobeandtheaestheticofit.Obviouslythere’salotofcross-fertilisationbetweenthedirectorandthedesignerbutthedesignerhastocomeupwithanofferfirst.SometimesJamiewouldhaveadifferenttakeonphotosIsenthimwhichiswhathappenedinThe Duchess of Malfi;hereallylikedanaerialshotandwonderedifthereweresomewayofmakingitlookfromthefrontasitlookslikefromaboveandthat’swherethe‘slantywall’camefrom–byaflukeofperspectiveofthataerialshot.
Was there a particular visual image that you based your design on?IgotveryinterestedearlyoninthePre-RaphaeliteperiodpartlybecausetheywerelookingbackatthatperiodbetweenElizabethanandJacobean,butIalsogotveryinterestedinVictorianarchitecture;WilliamMorris,Rosettiandthe‘artsandcraft’movement.Ihadalookatthree-tieredlibrarieswithspiralstaircases,ballustradesandbridgesbecauseIknewIwaslookingforsomesortofstructurethatinsomewayreflectedtheauditoriumofTheOldVic.Ratherthanitfeelinglikeanauditoriumandaset,Iwantedtointegratethetwothingswhichiswhywe’vecomeoutbeyondtheProsceniumArch.IalsolookedatfilmproductionslikeBatmanandGothamCityinthe1930sbecauseofthescaleofwhatIwantedtodo.IhadalltheseimagesandImeltedthemalltogethertocreateourpieceofarchitecturewhichispartItalianRenaissance,partVictorian,partElizabethan,partGothamCity.It’sbecomeaninventedarchitecturewhichhasintegratedallofthosethingswhilstmergingwithTheOldVicauditoriuminordertobringtheplayforwardsandintoourexperienceoftheworld.It’snotaboutmakingitmodernbecausewe’resittinginanauditoriumthatisclearlynotmodern,watchingaplayfrom400yearsagobutit’sstillanexperiencewe’rehavingrightnow,soit’sthatfinelineoffindingawaytobetruthfultotheplaybutsomehowmakingitveryrealandvibrantforacompletelycontemporaryaudience.
Tell us about your costume choices.IwantedthemtofeelliketheywereintheperiodbutthereweretwoorthreethingsthatIwantedtochangeinordertocreateaslightlymoreheightenedworld.TheCardinalwasveryspecificforme;ourCardinalneededtofeellikeamilitaryman,upright,frighteningandsharper.Heisstillwearingacassockandacapebutthehoodandtheovercoatwereourownaddition.Wealsowantedsomethingmorefilmicsoweaddedthecloakstogiveamuchmoremenacing,darkqualitytoit.Iwantedtocreatecostumesthatmadeyoumoreawareofthepersonandlessawareofthecostume,soImadesomethingmuchmorestreamlinedandacceptabletomodernaudiences.
Any words of wisdom for young designers?Ifyouabsolutelywanttodoit,youhavetosticktoitandgiveyourselfnoalternative.Takeeveryopportunitythatcomesyourwaybecauseyouneverknowwhatyou’regoingtoenjoy.Youcanhaveverynarrowviewsonwhatyouthinkyou’lllikeornotlike,whereasactuallythetruthissomethingsmaytakeyoubysurprise.It’sallabouthowinvestedyouareintheactivityofmakingaworld.It’salsoaboutdevelopingthesocialskillstobeabletointeractwithcarpenters,actors,costume-makers,directorsetcbecausethedesigneristheonepersonwhotalkswitheverybody.Ahugepartofwhatitistobeadesigneristobeamanagerofhugeteamsofpeople-you’renevertheiremployerbutoftenyou’retheirbossinsomeway!
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
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The Duchess of Malfi – Teaching ResouRces
What attracted you to the role of The Duchess?It’saveryfamousrole;amilestoneofarolebecauseit’ssochallenging.Thereareveryfewplayswhereawomanhasthetitlerole-that’snottosayshehasthemostlinesbyalongstretchbuttofindaplaywherethestoryrevolvesaroundafemaleprotagonistisveryexciting.Itterrifiedmebeyondbeliefand,asaresult,IknewIhadtodoit.Secondly,I’dwantedtocomebacktoTheOldVicforagesandthirdly,I’dneverworkedwithJamie,soitwasacombinationofthosethreethingswhichmadeitan‘unturndownable’opportunity.
What was the biggest challenge for you within this role?Oneoftheverybiggestchallengesisthelanguageandhowdifficultitis.I’vedoneShakespearebutIcouldn’tbelievehowmuchmoredifficultthisistounderstand,tolearn,togetintoyourskin.SomehowShakespeareisrhythmicallymuchmoreconducivetoanimmediate‘soakingin’toone’sselfandiscomparativelymoreaccessiblebutWebsterisliketryingtolearnChinese.Therhythmsaresojaggedandsoconsistentlyinconsistent.Evenjustthesoundsinthemoutharesomuchmorebrutal;you’reawaresomuchoftheconsonantsandhowjaggedandcrunchytheyare.It’sincrediblyvisceral.Ithought,naively,thatImustthinkaboutwhat’sgoingoninsideherhead-rubbish!Ispentthewholetimejusttryingtolearnthelines.
How did you approach these initial problems?MyfriendsaidtomeWebsteristoShakespeareliketheRollingStonesaretotheBeatles.TheBeatlesuselovelyrhythmandpoetrybutthentheStonescomealongandeverythingisabitmadder,darker,tornupandmuchlesstuneful.Butitisallthere,youjusthavetosearchforitandthatwasincrediblyexcitingandwhentheplayunlockedforme.Whatwasreallynicewasnotbeingpsychologicalaboutitatall.Ofcourse,theideasandthestoryrequirealotofdiscussionaboutmetaphysicalthingslikelifeafterdeathyet,atthesametime,theprocessthatI’mstillgoingthroughatthemomentisthatit’soutsidein.You’rejustdoingthesteps,playingthelanguage.TheclosestthingI’vedonetothisisPinter;thegapsaresohugeandhedoesn’tpresentanswers.Thedesireissostrongtojointhedotsbutyouhavetolettheaudiencedothat.It’sonlymyjobtopresentthislanguageasitiswritten.Ihavetokeeponthelanguage,keeponthethoughtbecauseactuallythere’snospacetoworryaboutanythingelse.It’saboutbeingphysicallyandmentallyverydisciplined.
What have you discovered about the Duchess?Jamieaskedmeearlyonifshe’slikeafemaleHamletandIthought‘OhGod...!’;thenIthought‘No,she’snot’,psychologicallyshe’sthepolaropposite.Thethingthatstruckmeimmediatelyaboutherasacharacteristhatshe’stheepitomeofthefeminine.EverythingaboutHamletisto‘notdo’whereaseverythingaboutheris‘doing’.Sheactsfirstandtheconsequences?Well,let’sjustseewhathappens,whichisanultimatelyfemininething.That’swhythebrothersaresothreatenedbyher;sheisthewoman.She’severything,she’shuman.AccordingtoAntonio,she’simpossiblyperfect.Accordingtoherbrothers,she’sthemostappallingwhorethat’severexisted.AccordingtoBosola,she’saboxofwormseedandasortofpointlessanimal.Butsheisjustawoman.Sheisfleshandblood;completelyflawedandcompletelyperfectatthesametime.
What’s it like being back at The Old Vic?Lovely.Justlovely.It’sbeenaboutfiveyearssinceMoon for the MisbegottenandIlovetheVicsomuchsoit’slikecominghome.Wegetonreallywellasacastbecauseit’ssointenseanddark,we’reallincrediblyjollybackstage.It’saveryego-less,hardworkingcastandwe’reallverysupportiveandgenerous,andfunny!Webrokethebedonstagelastnightanditwashystericallyfunny.There’sascenebetweenTom[Bateman,‘Antonio’]andI,andthebedcollapsedandthewholeaudienceburstoutlaughing.Wealljuststoodandlookedateachotherinhystericsthenwehadtodothewholeofthissceneonthiscomedycollapsedbed.Itwasheaven!
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
EVE BEST ‘The Duchess’
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The Duchess of Malfi – Teaching ResouRces
HARRY LLOYD ‘Ferdinand’
What made you want to be a part of this production?Firstofall-Jamie.I’veworkedwithhimbeforeandhe’sagreatguy.Intermsoftheplay,Ithinkthere’ssomethingaboutmycharacterthatisfascinating.Therearetimeswhenit’ssomodernandtimeswhenit’ssomedievalandmad.He’saclassicold-schoolbaddiebuteventhoughWebsterdoesn’tseemtochartanypsychological,cohesivenarrativeforhim,asanactorit’sexcitingtoplayarolethatdoescontradictandjumpandyou’vegottobuildthesebridges.Ispentalotoftimepiecingittogetherandfightingagainsttheshoutyperformanceandtryingtocolourhim.Itfeelslikethefirsthalfoftheplayisathrillerandthesecondhalfisacircusact.
What have you discovered about your character?TherearetimesIcertainlyfeltforhim-he’sdoneallthesehorriblethingsandwhenyoucannotfacetheseimmovablefeelingsandfacts,that’swhenyougomad.ButIactuallyfirstthoughtwhenyou’vedoneallthesethings,you’vegottotakeresponsibilityforthemandifhe’snotmad,it’sabrilliantwayofgettingoutofasituation.He’sclearlygotalotofsexualpreoccupation.Him[notwantingtheDuchesstoremarry]isnotaboutreputationasitisfortheCardinal,butaboutsex.Somethingiseatinghiminsidefromtheverybeginning.Iinitiallythoughtthathedoesn’thavetobethishorriblevillain,butJamiesaidinweektwosomethingthatchangedeverything-ifwe,theaudience,arenotscaredofhim,thisplaydoesnotwork.Nomatterhowinterestingandsympatheticyoumakehim,that’sthedramaoftheplay.He’salreadyontheedgeandyouhavetopushhimevenfurther.It’saplaythatkeepswrong-footingyou.
What do you think of his incestuous nature?Therearelotsofpossibleideasandanswers.Intheoriginaltext,they[theDuchessandFerdinand]aremeanttobetwins.Ithinkthere’sadifferencewithincestbetweentwinsandincestbetweenayoungerbrotherandanoldersister.Itactuallymakesitveryinteresting,workingoutthestoryofourversion,especiallywiththeCardinalbeingolderthanherandourparentsnotbeingthere,inawayshe’smymother.Whenshemarried,that’swhenIgrewuppoliticallyandtooktheDukedomandlearnthowtousepeople.Ithinkthekissthatwehaveisshockingandthat’swhyhesaysI’llneverseeyouagainbecausethisisthestuffthatspikesmen.
How did you find the language of the play?Thelanguageheusesisveryjaggedanddisgustingandvisceralbutit’salsoverypowerfulandclean.EspeciallywithFerdinand;theimagesheusesarequiteornateandvarious,he’sgotareallywiderangeofreferences.There’ssomethingveryearthyanddangerousandsharpaboutthelanguage.He[Ferdinand]hasgotarealwitandsooftenhefinishesotherpeoples’lines.WhatIfounddifficulttobeginwithisthathe’sgotnofriends,there’sno-oneonhisteam,he’salmostinadifferentplaytoeveryoneelse.Everyscenehe’sinisabouttryingtomakepeopledosomething.Ilovedcomingoutonstageforthefirsttime,aftertherehearsalroom,becauseyou’vegotanaudience-he’sgotsomeonetotalktoandyouhavetoworkouttherealtruthofthesedisparatelinesandthengetgoodatjoiningthemreallyquickly.Tobebraveenoughtogooutandbeall‘wolfy’buttogrounditintruthandbeconfidentenoughtobringitdownalevel.It’ssogrotesqueandmelodramatic.
Have you enjoyed the process so far?ThereweretimeswhenIwasabitmiserableandthinking‘Ihatethisguy,thisisexhausting’.Icouldn’tworkoutwhatpeopleweregoingtogetwhentheywatchedthisplaybutI’mfascinatedbytheirreactions.Someonesawthefirstpreview,thensawitagainandsaidthatit hasevolvedandthat‘you’remuchsweeterbutmoredangerous’.Asacompany,onstage,we’rehearingitnewallthetimeandnotgettingstuckinthatsing-songyphase;we’vegottheclarityofitbutpeoplearestilllistening.IwasscaredofTheOldVicinitiallybecauseit’sabigoldtheatrebutnowI’msohappywe’reherebecauseit’saplaybigenoughforit,itsuitsitsowellandIwouldn’twantittobeanywhereelse.
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The Duchess of Malfi – Teaching ResouRces
FINBAR LYNCH ‘The Cardinal’
What attracted you to this production?I’venotdoneanyWebster,anyJacobeandrama.I’vedonealotofShakespeareandsomeofhiscontemporaries;Iloveworkingonstufffromthatperiod.I’veseenthisplayandThe White DevilsoIwasinterestedinexploringsomethinglikeThe Duchess of Malfi;IthinkJamie’sdoneagreatjobonhiscuttingofit.AndIloveTheOldVic,I’veworkedherebeforeonDancing At Lughnasa.
Were there any major challenges for you?I’venevermadeanentranceonabedandIthoughtthatwasgoingtobetrickierthanitis!WhenIfirstreadit,IthoughttheCardinalwasnotonmuchbutwhathesaysisverywellwrittenandinteresting,sothere’sachallengeinthattoo.IrememberreadinganinterviewwithRalphRichardson,atTheOldVic,andhesaidwhenyou’replayingabigpart,you’vegotalotoftargetsandyoucanhitafewandmissafew.Butwhenyou’reinasmallerroleyou’vegottogetitrighteverytimeyou’reon,sothat’sthechallenge.
What do you think of your character?TheCardinal’sverycontrolling.Hedoesn’thaveahighopinionofwomen.Attheend,whenhesayshedoesn’twanttoberemembered,hediscoverstoolatethatmaybehe’shadthewrongapproach.SomeofthestuffIdo,IfeelthatIhavetokeepcheckingwiththeotheractorsthatit’sokbecauseit’sreallygottobeajointdecisionotherwiseitcouldbeveryuncomfortable.Butitseemstohavebeencollaborativeallthewayalong;thelinesofcommunicationhavebeenopensothatJamieandKate[thefightdirector]haveallbeenverymuchinvolvedinanyphysicalbusinessthatwehave.
How have you found Webster’s use of language?WebsterandShakespearewerewritingaroundthesameperiod.Shakespearewasnotauniquephenomenon,hewasverymuchpartofamovement,awholegroupofpeoplethatwerewritingataparticulartimeandWebsterwasoneofthem.Theycrossreferenceeachotherallthetimeandtheyallhadagrammarschooleducation;theywereallschooledinLatinandtheClassicsandthatinformsthewaytheywrite.Also,whatthey’rewritingaboutandthestructureoftheplaystheywrotewasinfluencedbyclassicaldrama.There’smaybenotasmuchheightenedmetaphor[asShakespeare]butit’sverymuchinthesameschool.Webster’stakeontheworldisverydark.WhentheCardinalsays‘Iwouldpraynowbutthedeviltakesawaymyheartforhavinganyconfidenceinprayer’;thiswasatatimewheneverybody,onpaperanyway,believedinaChristianGodsothatmusthavebeensurprisingtohearonstagefromaCardinal.It’simportanttolistenwithhalfanearinthosetimes[whentheplaywaswritten]soyoucangetasenseoftheimpactthatthosethoughtsandideaswouldhavehad.Ifyoulistentoit,youstillcanbesurprisedathowbleaktheirtakeonlifeis
How are you coping with your injury? [Finbar broke his collarbone during previews]That’stheamazingthingabouttheatre.I’vebeeninaplaywheretherearenounderstudiesandsomebody’soffsosomeoneelsegoesonwithabook;theaudiencefindthatveryprofoundandthatthere’ssomethinguniquehappeningthatthey’reapartof.It’samazingtomethefactthatthisslinghasgonedownsowell-somuchofitisallintheaudience’sminds.SoIthinkwhenIgetbetterI’mgoingtokeeptheleathersling!
BooksMarcus(ArdenEarlyModernDrama),The Duchess of Malfi,2009.RussellBrown(TheRevelsPlays),The Duchess of Malfi,1974.Gibbons(NewMermaids),The Duchess of Malfi,2001.Aebischer,Jacobean Drama,2010.
Websiteswww.members.fortunecity.es/fabianvillegas/life/webster_life.htmwww.maureencutajar.suite101.comwww.sederi.org/docs/yearbooks/04/4_3_/conejo.pdf
OtherTheOldVic,The Duchess of MalfiProgramme,2012.
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THE DuCHESS OF MALFI – TEACHInG RESOuRCES
The Duchess of Malfi Bibliography
