A decade on from its widely-celebrated 2014 iteration, Webster’s bloody revenge tragedy has returned to London’s sublimely atmospheric Sam Wanamaker Playhouse. This energetic new production certainly doesn’t stray from the play’s compellingly dark roots, but leans into its comedic potential, while bringing a modern edge to its presentation.

The candlelit Playhouse is a space with brilliant ambiance, where the audience can be closely immersed in the world of Webster’s play – often, the boundaries between stage and auditorium are blurred in a highly engaging way. Francesca Mills and Oliver Huband make for a charming, giddily enamoured Duchess and Antonio, whose sweet dynamic is vital for accentuating later tragedy. Oliver Johnstone’s Ferdinand lacks some of the snarling malice that David Dawson’s version of the character so difficult to look away from, but his initially empathic portrayal makes for a unique setup to his descent into villainy. Not all departures from the source material feel worthwhile, such as inconsistent modernisation of the language, and a somewhat jarring reference to a recent political scandal. The potential for barmy theatrics in the scene involving madmen is largely ignored, so that their misogynistic vitriol, projected onto the walls of the theatre, can drive home the production’s feminist messages – however, this comes across as somewhat heavy-handed, when such themes are already deeply embedded in the story, and clear to infer. Nonetheless, the final tragedy of the play is executed with all the appropriate horror and dramatic weight, leaving audiences with a strong impression of what makes Webster’s creation so compelling. Despite its interpretation of the play not hitting the mark in every aspect, this is an entertaining, diligently produced version of the Duchess of Malfi, which would make for an engaging entry-point into Jacobean tragedy.