Theater Review: “The Duchess of Malfi” at MuCCC

The little-known Jacobean tragedy “The Duchess of Malfi” was penned in the early 17th century by English
playwright John Webster, a master of macabre in his own right. It was performed
at the Globe and has remained a highly respected and deeply analyzed text in
theatrical realms (particularly higher education). But it’s not often that it’s
actually performed — or even referenced in popular culture (though Webster’s
works notably inspired T.S. Eliot’s poem “Whispers of Immortality.”)

Under the
artistic direction of Virgina Monte, WallByrd Theatre Company — one of the newest ensemble
groups in town — has taken on an ambitious task in performing Webster’s mammoth
five-act work. The script is lengthy, and the language is dense (the play is
part of the era of Jacobean drama, which immediately followed Shakespeare and the
Elizabethan era). The plot centers on a recently widowed duchess in Amalfi,
Italy, who secretly remarries against the wishes of her two brothers, eliciting
their disapproval and eventual revenge. In traditional Webster fashion, it’s a
dark, ghostly tale — perfect for this time of year.

Monte’s
vision for “The Duchess of Malfi” isn’t set in
coastal Italy, however. It’s set in the South during the Civil War, making the
duchess a Southern Belle rather than a Southern Italian. This bold choice — while
admirable and political considering current events and the themes of the play —
does compound the already winding plot. Frequent European and 17th-century
cultural references throughout the show were not changed accordingly, which
caused head scratching and blank looks in the crowd from those who weren’t
familiar with the plot. (The company included an act-by-act synopsis in the
playbill, which was helpful but provided spoilers throughout the show.)

The cast of
13 is filled with varying levels of skill, training and talent. Avid local
theatregoers will recognize Emily Putnam, who plays the duchess, from her
recent roles in “Rainbow Fish: the Musical” at the Fringe in September and
Pittsford Musicals’ production of “Next to Normal” in June. Putnam is a true
triple threat, versatile in her appearance, and formally trained enough to
master almost any character she plays. The amount of lines in this production,
coupled with heightened emotion, a Southern accent, and several hoop skirts
that may have their own zip codes made Putnam’s contributions to the show very
impressive indeed. The only downfall was her onstage chemistry with Vincenzo
McNeill, who played the duchess’s secret husband, Antonio Bologna. The relationship
is clearly a catalyst in the play, but it was hard to decipher whether the two
married for love or convenience (and perhaps that was how the director chose to
advise).

Other
standout members of the cast included Carl Del Buono
(Castruccio/Mad Man/Soldier), who delivered reactions
and authenticity to each of his roles; Alec Powell (Ferdinand), who was
especially delightful to watch after his character’s psychological decline; Jaimi Miller (Cariola), whose
bond to the duchess creates one of the strongest emotional moments in the play;
Matthew Moore (Cardinal), who plays a vicious character and has a solid grasp
of the language; and Jessamyn Slon
(Julia/Mad Woman), who should have been given more opportunities to sing in the
show.

There were
some difficulties with the heaviness of the language and the inconsistent
accents that most of the cast struggled to maintain. James Lockhart, who played
the demanding role of Daniel de Bosola, had great
fervor and energy onstage, but was often impeded by the language when he spoke
too quickly.

The switch
to Southern culture did make way for aesthetically stunning costumes by the
director’s mother, Linda Monte (though there were a few gasps whenever the
silken hoop skirts were accidentally closed in the narrow MuCCC
doors leading on and offstage). The set design was largely left to the
imagination, consisting of a few desks, chairs, and benches that were
repurposed throughout the show. Props were minimal as well; the guns, daggers,
and stage blood used in the fight scenes were the most striking visual aids.

MuCCC’s pews and theater seats were slightly rearranged for
this production, creating a black box theatre feel. It was, again, a bold
choice — but because only a few people chose to sit on the far right side of the
auditorium entrance, it was distracting to focus on the stage work with someone
at eye level across the way.

The show
clocks in at about three and a half hours of stage time, which is a long
duration for both audience and cast members to successfully navigate. Overall,
there’s plenty to admire about this production.If “The Duchess of Malfi” is any indication, Wallbyrd has an incredible amount of potential. It’ll be
interesting to see what the company learns from this production — and what they
choose to produce next.

This article appears in Oct 21-27, 2015.