Friday, March 30, 2012

"‘Tis Pity She's a Whore" - An interesting twist on a classic work

By Judd Hollander

The acclaimed acting troupe Cheek by Jowl tries a delicate balancing act, and for the most part succeeding, with their latest effort, a staging of John Ford's controversial 1633 work ‘Tis Pity She's A Whore, a somewhat uncomfortable tale of forbidden love, its obsession and ultimately tragic aftermath.

In 17th century Italy, Giovanni (Jack Gordon), son of the widowed Florio (David Collings), is terribly despondent, for he is madly in love with his sister, the beautiful Annabella (Lydia Wilson), the most desired woman in the land. It is not a sibling love Giovanni feels for her, but rather an overpowering heartfelt, and somewhat lustful, carnal need. Though he is urged repeatedly to fight these feelings by his confessor, Friar Bonaventura (Ryan Ellsworth), Giovanni finds he cannot do so. More importantly, he fails to see why such a pure and powerful love should be seen as wrong. He finally confesses all to Annabella, who admits to having the same desires toward him. Joyously, the two swear eternal love. However Annabella finds herself with child soon after, leading to a hastily arranged marriage with Soranzo (Jack Hawkins), who may actually be someone whom Annabella can turn to share her burden. Yet Giovanni may not be willing to give up his claim on his sister so easily.

Soranzo also brings his own baggage to his the story, that being his relationship with "the lustful Hippolita" (Suzanne Burden), a former mistress of his. Soranzo having first killed Hippolita's husband in order to marry her; a promise he ultimately reneges on, preferring the more youthful Annabella. Hippolita however has no intention of going gently into that good night and uses her feminine charms to enslave Soranzo’s servant Vasques (Laurence Spellman) and enlist him in a murderous plot. However Vasques, who has far more cunning than anyone first gives him credit, has his own ideas on that score.

Set in the modern era, with posters of True Blood, Gone With the Wind and Breakfast at Tiffany’s in the background, and the aura and images of sex and sexual pleasures everywhere, the production is an interesting amalgamation of sensuality, comedy, horror and drama, with certain scenes making the gouging out of eyes in King Lear seem quite tame in comparison. The company works on keeping the audience on their toes throughout, for just as events suggest a certain type of tone or feeling, something is presented that complete upsets the current atmosphere on stage, sending it off in a completely different emotional direction. A good example of this is the attitude of Putana (Lizzie Hopley), a serving maid in Annabella's house who, after walking in on the siblings, has a wonderful comedic scene where she attempts to keep their relationship a secret by concealing their dirty linen, quite literally. There's also Burden’s turn as Hippolita, cutting a mean figure as a woman who, with just a movement or gesture can change the meanings of her speech and actions from comedy to drama and back again. (She also reminds one of actress Harriet Harris.)

The play does get a bit confusing in the beginning as one must sort out the various characters, with several actors playing multiple roles, some of which feel almost interchangeable. An early fight scene between Grimaldi (David Mumeni) and Vasques, the latter fighting for his master’s honor is one such example of this. Though within a few minutes, everyone's role in the show becomes clear.

Wilson works well as the initially virginal Annabella; a seemingly bored woman who comes alive when she and her brother acknowledge their feelings for one another. She’s also someone who, in the end, begins to realize the horror of her actions and tries to try to find a way towards repentance, something Giovanni cannot tolerate. Gordon cuts both an alternatively foppish and chilling figure as Giovanni, who begins to unravel when be realizes he may not be able to keep what he desperately desires.

The supporting cast also has much to be proud of. Spellman is excellent as the Machiavellian Vasques, someone always scheming, but also loyal to a fault, and determined to get to the truth no matter what, as several people learn to their everlasting sorrow. Hawkins is fine as Soranzo, at first seemingly a man in lust who simply threw one woman over for another, yet in the end he gets a chance to reveal the depths of his love for his bride, presenting a man crushed by betrayal who must then battle his own demons, balancing his love for Annabella with his burning desire to know the truth. Hopley has fun with the character of Putana, a woman who knows all the secrets, and who likes to play on the wild side, but who also eventually learns that a little knowledge can be a dangerous thing. Burden as Hippolita steals the show at times as a wronged woman out for revenge, and who has the ruthless cunning and sexual wherewithal to carry out her plan. Ellsworth is convincing as the stern Friar to whom all is confessed and who desperately tries to turn Annabella and Giovanni from the course on which they appear inevitably set.

Work by director Declan Donnellan and Jane Gibson, the latter the production’s associate and movement director, are both wonderful; keeping the action moving nicely in a delicate placement of sin, desire and power. There are frequent also dance interludes through the piece. Particularly good is a scene where Putana is seduced by Vasques, with the help of Gratiano (Jimmy Fairhurst), leading to a rather unexpected turn of events.

Not for the faint of heart or delicate constitution, this presentation of ‘Tis Pity She's a Whore makes for an interesting piece of theatre, and is at its heart, a stern morality tale. That is, if you can see the underlying message beneath all the violence, blood, deceit and anguish tossed in.


'Tis Pity She's a Whore

Featuring Suzanne Burden (Hippolita), David Collings (Florio), Ryan Ellsworth (Donado), Jimmy Fairhurst (Gratiano), Nyasha Hatendi (Friar), Lizzie Hopley (Putana), Peter Moreton (Cardinal/Doctor), David Mumeni (Grimaldi), Laurence Spellman (Vasques), Lydia Wilson (Annabella)
Note: Ryan Ellsworth performed the role of the Friar in the performance this reviewer saw.

Written by John Ford
Directed by Declan Donnellan
Designed by Nick Ormerod
Associate and Movement Director: Jane Gibson
Lighting: Judith Greenwood
Music/Sound: Nick Powell
Associate Director: Owen Horsley
Presented by Cheek by Jowl

Brooklyn Academy of Music
BAM Harvey Theater
651 Fulton Street

Tickets: 718-636-4100 or www.BAM.org
Running Times: Two hours, no intermission
Closes March 31, 2012

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