Entering the Royal Shakespeare Theatre, a surprise awaits. On stage, a great column of brightly coloured balloons stretches form floor to ceiling.
Surely we're not actually being invited to enjoy the state visit of the Duchess's singularly unpleasant brothers Duke Ferdinand and the Cardinal?
Bloody work: Colin Tiernan as Duke Ferdinand and Aisling O'Sullivan as the Duchess of Malfi Indeed not. The lighting (Mark McCullough) soon switches to cold blues and oranges. Harsh spotlights cut across swirling mists. Aided by dramatic, film soundtrack music (Paddy Cunneen) issuing forth from loudspeakers all round the auditorium, the effect is indeed cinematic - a device which enables Gale Edwards's production to effortlessly encompass the jump which John Webster incorporates into this play: the Duchess seems to produce all her children within the space of a few minutes.
Meanwhile the brothers have appointed Daniel de Bosola to spy on their sister. Tom Mannion presents Bosola as one of the few nice people around, a Scottish detective recently retired from the Taggart TV series, perhaps, who's uncomfortable with his new role in 'private security'. "The Cardinal and his brother," he says, "are like plum-trees that grow crooked over standing pools; they are rich and o'erladen with fruit, but none but crows, pies, and caterpillars feed on them." Colin Tierney as the Duke and Ken Bones as the Cardinal duly oblige: "How tedious is a guilty conscience," reflects the Cardinal in his cold, colourless voice as the whole pack of cards comes tumbling down.
By then the Duchess is dead, as is her second husband and former Steward Antonio (Richard Lintern). Perhaps it's because he wears a modern business suit (this is a mixed-century costume production), but Antonio does look like a startled bank manager when the Duchess suggests marriage. The Duchess herself (Aisling O'Sullivan) has an unfortunate way of putting on a regal manner to stress her social position. The effect is sometimes alarmingly reminiscent of Margaret Thatcher in full flow at Prime Minister's question time.
The occasional gimmick apart (at one point the Duchess is forced to live next to a meat store - suspect foreign beef, no doubt), this is a generally well-delivered company production, even though it's not distinguished by memorable individual performances. And Bosola's message comes over loud and clear: "You have bloodily approved the ancient truth, that kindred commonly do worse agree than remote strangers".
The Duchess of Malfi
Royal Shakespeare Theatre, Stratford upon Avon
Until March 3
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