“An interesting exploration of a classical play […] not for the faint-hearted”
“The Duchess of Malfi” is a play renowned for its violence, and the Lace Market Theatre’s production certainly doesn’t shy away from that – but prior to the bloodshed, it succeeds in finding a tender love story set amidst a world that is wholly unforgiving. The play is written by John Webster, a playwright from the same time as Shakespeare, and the speech is very much in the Shakespearean style, although lacks some of the poetic elegance of the bard. Here it has been adapted by director Nik Hedges, the entire setting given a steampunk makeover which makes the play visually interesting, but at times difficult for a contemporary audience to fully engage with. It should be said that this review will contain some spoilers for the plot, so read ahead at your own risk.
The story revolves around the newly widowed Duchess of Malfi (Mollie Kneeshaw), a feisty, headstrong woman who refuses to be oppressed by the stuffy patriarchal society in which she lives. The Duchess knows her own mind and will do whatever it takes to get what she wants – she certainly wastes no time in making her feelings for Antonio (Tom Pluse) clear, getting married to him whilst still wearing her mourning outfit for her first husband! Kneeshaw and Pluse share excellent chemistry together, and the scenes between them form the heart of the opening act, a nice respite from the more complicated politics occurring elsewhere. As the Duchess’s handmaid Cariola, Fiona Bumann acts as the third wheel in most of these scenes, appearing as a confidant for the Duchess as she embarks on this secret affair.
The affair must be kept secret because the Duchess’s brothers are keen to make sure she does not wed again. Ferdinand (David Field) is prone to vicious outbursts, but there is also something vaguely sexual in his interactions with his sister – it makes for particularly uncomfortable viewing, yet an interesting and dangerous dynamic. It is a shame when Field drops this aspect of the character in later scenes, instead regressing into a ball of anger and hatred which can be a bit exhausting to watch. The Duchess’s other brother is a well-respected Cardinal (Chris Sims), who comes across as more strict and uptight, yet has secrets of his own to share in the form of Kathryn Edwards’ Julia. The Cardinal is sly and sleazy – there is something of Measure for Measure‘s Angelo about him, yet the bulk of his storyline is introduced too late in the second act to have too much of an impact.
The focus of the opening act is on Paul Spruce’s Bosola, a spy hired by Ferdinand and the Cardinal to get information on the Duchess. Spruce is mesmerising to watch, making Webster’s language feel natural and down-to-earth, yet Bosola is hardly a spy to aspire to – he learns from Antonio that the Duchess has had a baby, but it takes him several years to work out who the father is (it never occurs to him that it is the man he got the information from in the first place!). Bosola begins to question his role in the second act, teetering back and forth between working for and against the brothers, and it makes for an fascinating moral conundrum.
Yet the play is bogged down somewhat by some surprising directorial choices. The play opens in an insane asylum, and the set (designed by Hedges and built by Guy Evans) heavily leans into this aspect – bloodstained curtains serve as a backdrop throughout, whilst the stage itself is painted with rivers of blood. It is forever a reminder that, despite the love story we see playing out in act one, the bodies will begin piling up once the interval is over. As the audience enter, actors are already onstage, dressed in white and mentally incapacitated, pulling at their clothes and hissing at each other. It is a disturbing beginning, but it is dropped almost immediately, the outfits changed for a steampunk vibe and the asylum never revisited. Even in the second act, as the Duchess is imprisoned with a group of mad men, there are no specific call backs in either costume or character to this opening, which feels like a missed opportunity. There are several references in the text to lunacy (Antonio describes ambition as the route to insanity, and the Cardinal accuses Ferdinand of madness) and these moments stand out starker amidst the setting, but one cannot help but wish that more had been made of this.
The Lace Market Theatre insist in their accompanying programme that the play is important for modern audiences due to its focus on themes of gender inequality, and that is clear to see here, yet doesn’t feel substantially challenged. The character of Delio is gender-swapped as Delia (Michelle Smith), which provides a slightly uplifting ending (especially as Delia is the one left standing amidst the bodies of the power-hungry men who have all killed each other), but the play does struggle slightly in the aftermath of the Duchess’s death, as we are left following a group of characters that are not particularly likeable and all seemingly boil down to the same ambitious motivations. Kneeshaw’s Duchess forms the emotional heart of the play, she is the character we relate to most and are willing to succeed – when she is killed halfway through Act Two, the play is left feeling utterly bleak and the audience are left with no one to connect with. Delia could have filled this void, but in her early scenes Smith is overshadowed slightly by Pluse which means we don’t ever view her as a main protagonist.
There are many minor roles that are worth mentioning here – Lucie Conroy, Fred Baker, Jake Black and Joe Moore form an enjoyable group who provide commentary on ongoing events, offering viewpoints from courtiers on the outside of the action, and Richard Young’s Castruccio and Emma Rayner’s Doctor share some fun scenes with Bosola as the spy tries to obtain information (although Philip Hogarth’s lighting is a little dark for this section). Jonathan Blacknell’s sound design is constant and a bit distracting – personally I would have preferred a little underscoring music to set the scene, but then silence to allow us to focus on the plot and the action on stage.
This is a long play (3 hours) and not for the faint-hearted – the play demands your attention throughout, with a plot that feels intricate but is driven by forbidden love in a storyline that is not that different from things you will have seen before (think Romeo and Juliet but with more politics). The acting throughout cannot be faulted – the actors deserve a round of applause for the sheer line-learning alone, but each character also embarks on their own journey, driven by their own motivations. It is certainly an interesting exploration of a classical play, demonstrating how relatable these stories can still be after 400 years, but some of the creative decisions can make it difficult to properly invest.
Tom Morley, May 2026
Review Round-up:
East Midlands Theatre: The Duchess of Malfi – 4* from Phil at East Midlands Theatre, who says there is “some excellent acting work […] offering some dynamic moments of conflict” although confesses that “losing the convoluted plot is a big possibility”
Kev Castle Theatre Reviews: The Duchess of Malfi – Kev was very impressed with the latest offering from Lace Market Theatre, calling this “a brilliant evening of theatre with a deliciously dark theme which will satisfy the blood lust of anyone who loves a good meaty story of forbidden love and bloody murder”
Broken Legs Blog 