Exeter College Chapel

Tuesday 2nd – Saturday 6th March; 8.15pm

“The music lent itself to the contrast between the spectacular setting and the debauched subject matter, swapping between a variety of orchestral pieces, occasionally interjected, rather bizarrely, with Lily Allen.” Katherine Newman and Katy Parkes ★★★★★

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The Revenger’s Tragedy ★★★★★

Review by Katherine Newman and Katy Parkes

In a dynamic production full of energy and vigour, Middleton’s somewhat overly dramatic play The Revenger’s Tragedy was brought to life amid the sparsely lit and ominous atmosphere of Exeter’s Chapel. The production started well with a dramatic introduction by Amyus Bale, setting up the vivid mode and fast pace of the plot. The music lent itself to the contrast between the spectacular setting and the debauched subject matter, swapping between a variety of orchestral pieces, occasionally interjected, rather bizarrely, with Lily Allen. Although much of the drama of the play was lost due to the dim lighting – atmospheric though the chandeliers were – and much of the diction was muffled by the echo and the lack of clarity of address on behalf of the actors, the gothic architecture and grim beauty of the surroundings gave much to the tale of incest, murder and revenge. The need of the actors to work with the audiences on each side was not met, although their use of space was impressive, using the ability to go behind and through the audience, adding to the tension and intimacy of the performance.

Special recognition should go to Josh Hall as Spurio – who seemed to have taken much from Tenant’s recent brilliant rendition of Hamlet – and whose impeccable dramatic timing and comedic quality (for example his use of the yoyo to lighten otherwise overly bleak scenes) was one of the highlights of the production. Others remained rather wooden and two dimensional, failing to preserve their character when not centre stage, although Helen Slaney as the duchess was another admirable performance, retaining her poise and persona throughout. Her chemistry with Hall and the giddy quality they gave to their relationship was particularly note worthy, and the two exuded the dept which the rest of the play somewhat lacked.

The dramatic murder of Lussurioso at the end was at first hugely effective, with the villains donning masks to emphasise the inhumanity of the deed they were about to commit, and interacting with the audience with an intimidating and expressionless stare. However, this was somewhat marred by the strange surreal dance-like choreography which had the characters move in slow motion in what would otherwise have been a moment of heightened tension and the crux of the play.

The intended comedic value of the final brutal murders in quick succession became almost farcical and slightly ridiculous, with each character brandishing a joke shop knife in an act which entirely lost any seriousness or dramatic impact. Although gaining laughs from the audience, this somewhat incongruous addition to a play otherwise founded upon a basis of great dramatic tension seemed to jar unexpectedly with an otherwise competent production in a well chosen and sinister setting.