‘Tis Pity She’s A Whore – review

Lovers: Lydia Wilson (Annabella) and Jack Gordon (Giovanni). Photograph: Manuel Harlan

Over the last 30 years, Cheek by Jowl has established itself as the paragon of innovation in international theatre. Formed in 1981, the company’s mission has been to reinvigorate the classical dramatic canon, making the gems of yesteryear more accessible to modern theatregoers. It was only a matter of time before they came to tackle one of the most consistently controversial and provocative works in the theatrical repertoire: John Ford’s ‘Tis Pity She’s a Whore.

Adapting this iconic Jacobean revenge tragedy for the modern stage presents certain difficulties. For a start, the play revolves around a fully consummated incestuous relationship, not such a rarity on the 17th century stage, but still as much of a taboo today as it was 400 years ago. Furthermore, a strong sense of religious guilt permeates the drama, which can feel rather contrived to a contemporary audience. Previous productions have seemed laboured and overly austere, but this electric staging allays any such fears within the opening few minutes, as we are treated to a boisterous pop dance sequence involving the ensemble cast, including the robed friar. This is repeated at various intervals throughout the evening, against the backdrop of Annabella’s bedroom, which is decorated with posters of recent vampire-related movie and TV franchises.

But this production offers more than mere visual spectacle. By updating the setting to modern day Italy, it succeeds in shifting the focus away from the hypocrisies of the Vatican and on to the corruption of the society surrounding the doomed lovers. There is almost a religious purity to Giovanni and his sister’s passion, which sharply contrasts with the insincerity of the surrounding characters who are so outraged by their behaviour. The demonic force in this play is not religion; it is the decadence of a community whose values, when scrutinised, are found to be diseased. Consequently, the famously violent and gory scenes never seem gratuitous. They are acts of desperation in a world which is caving in on itself.

Cheek by Jowl has a reputation for getting the most out of its acting talent, and this cast is no exception. The performances are universally impressive, while lead actors Lydia Wilson (Annabella) and Jack Gordon (Giovanni) are particularly outstanding, as they manage to convince us of the sincerity of their love in a natural, organic manner. Laurence Spellman provides a darkly comic turn as the scheming servant Vasques, and Suzanne Burden invokes unexpected sympathy as the promiscuous widow Hippolita. Declan Donnellan’s direction is politely creative, and serves to enhance Ford’s text, rather than detract from it. The decision to stage the play within one setting and without an interval also pays dividends, increasing the intensity and compounding the sense of claustrophobia.

Risks were taken in this brave production, including a slight alteration to the ending of the play, but the result is a landmark adaptation of this troublesome tale, which besides for being compelling and believable, is also far less dull.

‘Tis Pity She’s A Whore is at the Barbican’s Silk Street Theatre until 10 March.