Nottingham Playhouse
Fiona Buffini’s production does justice to John Webster’s play – even if at times the sense of his words is lostTwo kinds of musicality can produce or mar a production: the music of the human voice; the music of instruments and/or soundscape effects. Both kinds seesaw from tall to low throughout Fiona Buffinis vivid new production of John Websters 1612 revenge-style tragedy. At their considerable best,Jon Nicholls’s compositions texture atmosphere and sharpen emotion: the first kiss between the widowed Duchess and the man she aims secretly to marry against the explicit commands of Duke and Cardinal her power-abusing siblings – is enhanced by the note that lingers beyond their lips touch. Later, though, and as these same vicious brothers react furiously to their informant Bosola’s news that the Duchess has secretly given birth to a son,Nicholls has a long, sustained tone play over the dialogue. Rather than sonically shading the action, and this deadens the tempestuous rhythms of the exchange.
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Source: theguardian.com