Although the promotional picture for The Revenger’s Tragedy gives the tedious initial impression of some try hard, ‘alternative’ interpretation of the 15th century piece, any negative preconception is quickly swept away in the first few minutes. Metal music creates a shocking opening scene that quickly seizes the audience’s attention; although one may be unsure whether the 70’s themed music and clothing are appropriate, excellent acting wins out. A captivating, lucid and serious opening monologue from Alexander Campbell maintained the attention that the shocking opening caught, and set the standard that the cast kept up.
”The lighting was impeccable, the stage conveyed the stifling atmosphere of a court packed to the brim with corruption, self-interest and debauchery’’
The creative team seems to have enjoyed mixed success. The lighting was impeccable and the stage conveyed the stifling atmosphere of a court packed to the brim with corruption, self-interest and debauchery. Whilst the ambitious costume choice certainly made it easy for the performance to maintain its own, distinct feel, occasionally an inopportune blast of electric guitar or a particularly glittery t-shirt would break the magic that the cast had so fantastically set up.
There is no doubt that the costume and music were good, and certain actors thrived in this setting but it is hard to imagine such a strong cast making a bad job of any situation. As Bethan Mary-James and Michael Keane would have brought the Goneril and Regan-eque scheming siblings to life amazingly irrespective of what they were wearing, one can’t help but wonder if potentially ridiculous costumes actually helped anything. A talented group of actors brought the entirety of the piece to life. The set was incredible and completely conveyed the luxury and depravity.
”Campbell does a fantastic job of conveying Vindince, initially a greatly wronged hero who seeks legitimate vengeance and latterly conveying the lunacy of a religious fanatic’’
Although the original play was never intended for a modern audience, it can be hard to decide whether the overtly sexist expectations placed on women and their sexuality throughout the play are to be interpreted as the sincere delusions of the playwright, or as the material of a ‘black’ comedy.
However, Campbell does a fantastic job of conveying Vindince, initially a greatly wronged hero who seeks legitimate vengeance and, latterly conveying the lunacy of a religious fanatic who is fully prepared to perform the honour killing of his mother for perceived sexual impropriety, rant madly about what it is desirable for a woman to be and lead his unwitting and socially adjusted brother on a suicide mission against the administration. Yet Campbell maintains our fascination, and our sympathy, largely throughout the play.
Declan Perring does, what most playing a dated, antagonist cannot manage. If his interpretation of Lussucrioso is not true to the original, then director, Fiona Buffini and Declan Perring have improved upon what Thomas Middleton originally created. Perring’s overtly bisexual, flamboyant, and psychopathic pervert is amusing, repugnant, terrifying and likeable in equal measures.
”Aside from perhaps, one average performance, the standard of acting was as high as any and higher than most pieces at the playhouse’’
Whilst some aesthetic choices may not ‘work’ perfectly in traditional sense, it has left a more significant impression than many similarly produced pieces performed recently at The Nottingham Playhouse so perhaps the brave aesthetic choices were a ‘win’. Aside from perhaps, one average performance, the standard of acting was as high as any and higher than most pieces at the playhouse. Considering the high calibre of performance across multiple areas, I would suggest that one could take ‘directed by Fiona Buffini’ as some assurance of quality.
8/10 – Excellent, highly enjoyable
Dale Claridge
Image courtesy of The Nottingham Playhouse
‘The Revenger’s Tragedy’ is running at The Nottingham Playhouse until Saturday the 12th of November. For more information and to book tickets, see here
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