‘Tis A Pity She’s A Whore, Malthouse ***

‘Tis A Pity She’s A Whore by John Ford

By Malthouse Theatre
Merlyn Theatre, Malthouse, from Feb 16 to March 5, 2011
Reviewer: Kate Herbert on Feb16, 2011
Stars: ***

Modern adaptations of classical plays can be illuminating and theatrically challenging. However, Marion Potts’ production of ‘Tis A Pity She’s A Whore teeters on the edge of melodrama rather than penetrating the moral murkiness of John Ford’s 1633 Jacobean tragedy.

This is not to say that it lacks theatrical merit or that some audiences won’t love its bold, economical style, musical elements and contemporary references. The cast is reduced to nine and the sub-plots all but eliminated. A single, modern punk (Chris Ryan) boasting about his sexual conquests replaces the foolish suitors.
 

Because of the savage editing and reduced cast, too much of the flesh of Ford’s play and too many characters are missing making the story confusing and incoherent. By stripping characters and sub-plots, the breadth of the moral decay, hypocrisy and corruption of this 17th century society is lost. It rushes to its bloody end and we feel we have missed something important.
 

Potts takes risks with her collage of styles and some are successful.  Soprano, Julia County, adds a romantic, emotional layer as she glides above the ghastly, earthly events. Anna Cordingley’s three-level set is a metaphor for the multiple levels of morality and status. Her backdrop, in the roiling style of a Mannerist painting, is a highlight.
 

Ford’s play is always considered controversial. The children of Florio (Richard Piper), the virginal Annabella (Elizabeth Nabben) and her brother, Giovanni (Benedict Samuel) have an incestuous relationship. Annabella’s tutor, Putana (Laura Lattuada), approves the affair. When Annabella falls pregnant, she is hurriedly married to Soranzo (John Adam) who abandons his vengeful paramour, Hippolita (Alison Whyte), who is then betrayed by Vasques (Anthony Brandon Wong).

There are some strong performances particularly from Adam, Nabben and Whyte, although the acting is uneven. After oodles of sex, murder and revenge the stage is littered with bloodied bodies. Ultimately, this production favours form over substance. The idea is interesting but the execution only partially successful.