This was my first visit to the wonderful Sam Wanamaker
Playhouse, the reconstructed 17th century style theatre squeezed
into the foyer of the Globe on London’s South Bank and with a capacity of 340
it is an intimate space where the audience feels part of the performance. The candlelight auditorium and stage creates
an atmospheric environment which intensifies the experience and the drama.
John Webster’s dark tale of The White Devil, based on real
events from the 1580’s,is re-envisaged here by Annie Ryan in a future dystopian
time where in these families the corruption , lust and random killing is a way
of life! With a stripped back setting, using the candles to set scenes and with
no stage furniture it is the twelve cast members (6 male, 6 female) who must
drive the story using Webster’s language to engage the audience . This they do
with great skill and clarity creating logic to the madness of killings and
treachery.
While this is a story of a male dominated society it is
Vittoria, played beautifully by Kate Stanley- Brennan , who created the most
sympathetic character as she is pursued
by the Duke of Bracciano (played Jamie Ballard) , tried for murder and placed in a house for fallen women. She is
matched by RADA graduate, Joseph Timms as Flamineo (who works for Bracciano)
who struts the stage with a cockney charm (reminiscent of Russell Brand) and
brings the audience into his plotting. The most dramatic scene where Vittoria shows
her spirit and resolve is her trial where see off one pompous lawyer and
challenges Monticelso (played by Gary Cooper) with withering logic. She is sexy
and chaste at the same time. She is dignified and righteous while being a
double crosser and willing adulterer.
The use of candle light both adds and detracts from the
production. The use of 6 chandeliers to provide general lighting at various heights,
side stage candle sconces to illuminate the stage, and freestanding and hand
held candle sticks to provide uplight to the performers faces adds to the drama
and sense of the play
The music too adds to the drama with a simple violin,
accordion and cello under the direction of Stephen Bentley-Klein gently and
eerily underscoring the action from the gallery above the stage.
In the wrong setting, with weak direction and poor actors
this play could fail to connect with the audience but here in this wonderful
period setting with sharp direction and an experienced and talented cast it is
a delight to watch as the pace and body count whisks us to an inevitable
conclusion.
Reviewed by Nick Wayne
Rating: ★★★★
