"'Tis Pity She's a Whore" - When Loves Goes Far Astray

By Judd Hollander

Photo by Richard Termine

What if Romeo & Juliet were in fact brother and sister? So it asks in the press materials for Red Bull Theater's absolutely brilliant production of John Ford's drama 'Tis Pity She's a Whore (circa 1630). A play which shows all too clearly how love and infatuation can very quickly turn to jealous obsession; and when the taboo of incest is inserted into the mix, the results can be very bloody indeed.

In the Italian town of Parma, Annabella (Amelia Pedlow) the beautiful daughter to Floiro (Philip Goodwin) is wood by many suitors. Among them nobleman Soranzo (Clifton Duncan) and Roman soldier Grimaldi (Tramwell Tillman). However the one who loves Annabella most passionately is much closer to home. Specifically, her stalwart brother Giovanni (Matthew Amendt). It is also a passion that has Giovanni in the grip of despair. For his love is not one a brother would normally have for a sister, but rather a wife and a lover. Friar Bonaventura (Christopher Innvar), horrified at Giovanni's confession to him as to these feelings, orders the young man to pray for forgiveness while begging God to remove these yearnings from his soul. 

Yet though Giovanni indeed tries to purge himself of these desires, he finds he cannot. He also finds himself wondering why this love he feels for his sister, one he is certain is so good and pure that God himself must have put it there in the first place, can be so wrong. It's a question neither the Friar nor anyone else can answer, other than by expressing their own disgust and that of society's, toward the issue. Responses which do nothing to discourage Giovanni in the slightest. When Giovanni learns Annabella feels the same love for him he does for her, his despair quickly turns to joy. However problems occur soon after when Annabella finds herself pregnant, a situation requiring her immediate marriage to another. Something Giovanni does not like in the least.

This plotline alone makes for great drama, while offering an interesting take regarding the condemnation of incest. Especially since there are so many other instances of tolerated hypocrisy in the play - ones in regard to religion, the application of the law, and infidelity, among others. There's also the character of Hippolita (Kelly Curran), a widow and former lover of Soranzo who, in response to Soranzo's spurning of her, plots to have him killed. Her accomplice in this plan being Sorzano's servant Vasques (Derek Smith). Curran and Smith's scenes together coming off as rather hot and full of passion; more so in fact than any of Pedlow and Amendt's moments together in that regard.

Also lurking about is Hippolita's supposedly dead husband (Marc Vietor), who also figures into the story, as does his niece Philotis (Auden Thornton). The latter finding a love of her own amidst the various plotting and scheming. Leavening out the story with some very welcome and much needed humor is Bergetto (Ryan Garbayo), a foppish fool whose mincing and over the top antics sets the audience to roaring with glee. Especially when Bergetto, at his uncle's Donado's (Everett Quinton) urging, tries to pen a note of love to Annabella. The older man doing a wonderful series of slow burns in response to his nephew's attempts in that direction.

Jesse Berger's direction is top notch here, giving equal weight to the various plots lines. The result being that they all come through strongly. What ultimately emerges is a vehicle that's basically a soap opera about star crossed lovers and those in their orbit. The mood of the piece changing continuously from sensual to humorous to dramatic, with undercurrents of dangers and tragedy throughout. It's also important to note that nothing presented here feels overlong. Each point being central to either the plot or to the audience's involvement with the story.

Along with the play's moral message about "forbidden love", there's also a warning about going against the conventions of society. The play noting even though certain hypocrisies may be accepted as givens, i.e. corruption in the church, there are some instances where forgiveness is not permitted. Not only towards those who commit such crimes, but also towards those who know the truth about such circumstances and then attempt to conceal them.

Amendt does a great job as the love-afflicted Giovanni, trying vainly to find a path to salvation but who is able to conquer neither his own desires nor a certainty that what he feels for his sister is in any way wrong. Pedlow is very good as Annabella, a woman with a quiet sensuality about her and whose own love for Giovanni turns to fear when she realizes the ramifications of what she has done. Smith cuts a strong figure as Vasques, one of those people who plays his cards close to the vest, so you never know exactly what he is planning, or on which side he's actually on. Curran is excellent Hippolita, a person not afraid to use her feminine wiles to get what she wants. Garbayo is great fun as Bergetto, and Quinton quite good as the well-meaning yet rather hapless Donado, at least where matters of his nephew are concerned. The rest of the cast is just as strong, and includes good performances from Innvar as Friar Bonaventura, Franchelle Stewart Dorn as Putana, tutoress to Annabella, and Rocco Sisto as The Cardinal.

This production of 'Tis Pity She's A Whore is anything but a pity and a brilliant example of how a nearly 500 year-old drama can be made to feel fresh, alive and new.

Featuring: Amelia Pedlow (Annabella), Matthew Amendt (Giovanni), Philip Goodwin (Signor Florio), Franchelle Stewart Dorn (Putana), Christopher Innvar (Friar Bonaventura), Clifton Duncan (Lord Soranzo), Derek Smith (Vasques), Tramell Tillman (Grimaldi), Everett Quinton (Signor Donado), Ryan Garbayo (Bergetto), Ryan Farley (Poggio), Kelley Curran (Hippolita), Marc Vietor (Richardetto, Auden Thornton (Philotis), Rocco Sisto (The Cardinal)

'Tis Pity She's a Whore
By John Ford
Scenic Designer: David M. Barber
Costume Designer: Sara Jean Tosetti
Lighting Designer: Peter West
Composer: Adam Wernick
Sound Designer: John D. Ivy
Fight Directors: Rick Sordelet and Christian Kelly-Sordelet
Hair & Make-Up Designer: Dave Bova
Production Stage Manager: April Ann Kline
Production Manager: BD White
General Manager: Adam Fitzgerald
Casting Directors: Stuart Howard & Paul Hardt
Publicist: David Gersten & Associates
Directed by Jesse Berger

Presented by Red Bull Theater
The Duke at 42nd Street
229 West 42nd Street
Tickets: 646-223-3010
Information: www.redbulltheatre.com
Running Time: two hours, 20 minutes, no intermission

Closed: May 16