Director: Mark France
Reviewer: Alison Noble
The Mooted Theatre Co. was founded only a year ago, and this production of ‘‘Tis Pity She’s a Whore’ is only their second theatrical venture. The play, written by John Ford in the early 17th century, became one of the most controversial in English literature, due to it’s theme - incest, and Ford’s failure to condemn the behaviour of his protagonists.
The programme promised us a “violent, frequently nasty” and “extremely powerful” piece of theatre. The delivered product was more of a damp squib.
Set in Parma, the play centres upon Giovanni (Andy Curry) and Annabella’s (Gemma Sharp) incestuous relationship, which eventually embroils most of the cast, and results in 5 of the 7 deaths in the play. Murder, deceit and revenge feature heavily. But Mooted’s portrayal somehow failed to convince. I just wasn’t made to feel uncomfortable enough - the brother and sister’s relationship wasn’t given enough context or time to develop in order to believe that they really were related and not just young lovers. Perhaps that’s the point, but I think Ford originally intended us to feel uncomfortable with feeling uncomfortable - that by the end of the play we have gained sympathy for the couple, and this challenges our preconceptions. This production just wasn’t that sophisticated.
Other relationships also proved problematic for the audience. Giovanni’s contact with the Friar, his confessor at regular intervals throughout the play, seemed far too “matey” to be true. At times it felt like the actors didn’t really understand the Jacobean text they were reciting, which accounts for some strange interactions and responses. Bergetto, Annabella’s idiotic suitor, and Poggia’s relationship was puzzling and never fully explained. Howard Spencer-Mosley’s performance as Bergetto fell on the wrong side of excruciating. According to the programme, he’s spent time touring as a stand-up comedian. His determined attempt to bring some comedic reprieve to the play resulted in much head-shaking and hang-wringing from my theatre-accompanying-housemate and I.
Being performed on Leeds’ Carriageworks teeny-tiny stage, the play was less “intimate” and “intense” and more “no way of escape”. With only 2 rows and 50 seats (we counted), the performance was on the same level as the audience, which unfortunately lent more of a sixth-form play kind of feel. With there being very little space to perform, there was much ping-ponging across the stage, and a fair amount of crawling around on the floor, which I found confusing and distracting. Props were minimal, and costumes in period, which seemed to make the cast feel ill-at-ease and unsure how to hold themselves.
All was not lost. Victoria Morris’ performance as Putana and Christopher Ratcliff as Soranzo managed to give some dignity and professionalism to an otherwise amateurish show.
From it’s conception until the late twentieth century, critics have usually been harsh in their condemnation of Ford’s play, taking offense at the subject. This critic simply took offense at bad acting. Needless to say, I won’t be recommending this one to my friends.
The programme promised us a “violent, frequently nasty” and “extremely powerful” piece of theatre. The delivered product was more of a damp squib.
Set in Parma, the play centres upon Giovanni (Andy Curry) and Annabella’s (Gemma Sharp) incestuous relationship, which eventually embroils most of the cast, and results in 5 of the 7 deaths in the play. Murder, deceit and revenge feature heavily. But Mooted’s portrayal somehow failed to convince. I just wasn’t made to feel uncomfortable enough - the brother and sister’s relationship wasn’t given enough context or time to develop in order to believe that they really were related and not just young lovers. Perhaps that’s the point, but I think Ford originally intended us to feel uncomfortable with feeling uncomfortable - that by the end of the play we have gained sympathy for the couple, and this challenges our preconceptions. This production just wasn’t that sophisticated.
Other relationships also proved problematic for the audience. Giovanni’s contact with the Friar, his confessor at regular intervals throughout the play, seemed far too “matey” to be true. At times it felt like the actors didn’t really understand the Jacobean text they were reciting, which accounts for some strange interactions and responses. Bergetto, Annabella’s idiotic suitor, and Poggia’s relationship was puzzling and never fully explained. Howard Spencer-Mosley’s performance as Bergetto fell on the wrong side of excruciating. According to the programme, he’s spent time touring as a stand-up comedian. His determined attempt to bring some comedic reprieve to the play resulted in much head-shaking and hang-wringing from my theatre-accompanying-housemate and I.
Being performed on Leeds’ Carriageworks teeny-tiny stage, the play was less “intimate” and “intense” and more “no way of escape”. With only 2 rows and 50 seats (we counted), the performance was on the same level as the audience, which unfortunately lent more of a sixth-form play kind of feel. With there being very little space to perform, there was much ping-ponging across the stage, and a fair amount of crawling around on the floor, which I found confusing and distracting. Props were minimal, and costumes in period, which seemed to make the cast feel ill-at-ease and unsure how to hold themselves.
All was not lost. Victoria Morris’ performance as Putana and Christopher Ratcliff as Soranzo managed to give some dignity and professionalism to an otherwise amateurish show.
From it’s conception until the late twentieth century, critics have usually been harsh in their condemnation of Ford’s play, taking offense at the subject. This critic simply took offense at bad acting. Needless to say, I won’t be recommending this one to my friends.
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