![]() ![]() ![]() ![]() Events play out leaving most of the main characters either dead or dying, victims of various forms and degrees of obsession. To that end they throw her into a dungeon and leave her there under the care of the thuggish Bosola. The Duchess of the title remarries beneath her station and her two brothers, at least one of whom is clearly mad, become obsessed with saving her from herself along with the family name. While the family in the latter pull together to protect each other and direct all their revenge towards outsiders, the D’Aragona family in John Webster’s play spend their whole time trying to rip their bonds apart. This latter was one of the gorier moments in Creation Theatre’s latest piece to go online which, for much of the rest of the time was relatively rather restrained – relative to Titus Andronicus, that is. To go from one murderous revenge tragedy set in Italy (yesterday’s Titus Andronicus) to another murderous revenge tragedy set in Italy, The Duchess Of Malfi, might seem ever so slightly negative and depressing but I can come away thinking that things could be worse in our present real scenario – at least there’s nobody trying to hack off a limb or stick a fork in my eye. Experiencing The Christopher Boy’s Communion, Chatroom and The Picture Of Dorian Gray over the last few days has certainly shown that being human can be a rotten business. To the background of the world seemingly going to hell in a handcart, I seem to have spent quite a bit of time peering into the darker side of life recently. ![]()
0 Comments
Leave a Reply. |