KEY POINTS:
The second instalment of The Ensemble Project has its cast of talented newcomers taking on the bloody mayhem of a 17th century revenge drama. It is a thrilling encounter that offers a fascinating glimpse into a remarkable period of English literary history.
Even by the lurid standards of its time, Tis Pity She's a Whore was a controversial work. Its sympathetic treatment of incest is driven by a taste for extreme passions and radical skepticism towards all of the institutions and beliefs that underpin a well-ordered society.
The story echoes the themes of Romeo & Juliet but it is like viewing Shakespeare through a house-of-horrors distorting mirror and in John Ford's nightmarish vision the tender passions of the star-crossed lovers are supplanted by the depravity of incest.
Michael Hurst's no-frills production avoids sensationalising the play's gruesome material. Through skilful editing the complex narrative is presented with great clarity and the audience is engrossed by a well-paced story that is punctuated by violence.
The focus is firmly placed on the extravagant imagery and extreme emotions of Ford's baroque poetry. It is easy to see that enormous effort has gone into mastering the difficulties of the text and the young cast show considerable vocal skill in the clear and forceful delivery of their lines.
However, the language remains an obstacle and only a few of the actors achieve the linguistic fluidity that brings conviction and integrity to their performances.
Glen Pickering and Bonnie Soper elicit considerable sympathy in their portrayal of the doomed young lovers, Annabella and Giovanni. Pickering is particularly effective in conveying the torment of a Faust-like character whose brilliance is poisoned by pride.
Bonnie Soper seems reluctant to commit to Annabella's lustful passions but she reveals considerable strength as she endures the brutality of her enraged husband and eventually repents after a tirade about the horrors of hell delivered with compelling authority by Jonathan Hodge.
Morgana O'Reilly's Hippolita conveys humour and pathos as a jilted lover while her dying curse is spine-chilling.
Curtis Vowell exudes menace in his cool portrayal of the successful suitor Soranzo. His servant Vasques is a ruthlessly efficient enforcer and Semu Felipo is so convincing in his duplicity that the audience can never be certain whose interest he is serving.
Jeremy Fern's lighting design creates some evocative chiaroscuro effects and John Verryt's minimalist design brilliantly reinforces the central image of a play that gives a shockingly literal twist to the traditional lover's quest to win the heart of his beloved.
