The Changeling

Published Monday 8 October 2007 at 11:30 by Pat Ashworth

There is a nice touch of irony in the illuminated exit sign at the iron door of the court that is also prison and madhouse in Paul Will’s nightmarish set. Suggesting that the damned protagonists are free to come and go is just another turn of the screw, one more bit of psychological torture in a Jacobean revenge tragedy that rises above mere theatricality.

True, there are gallons of blood, a hacked-off finger, brutal sex, sadistic servants, capering madmen and a good dose of comedy in the sub-plot. But it remains a riveting play brought to its shocking conclusion by some very strongly drawn characters, especially the aristocratic and highly articulate Beatrice-Joanna and the repulsive servant, Deflores, who claims her virginity in return for murder of her bridegroom-to-be.

Deflores is meant to be so hideously disfigured as to be utterly repulsive. Adrian Schiller plays him far more cleverly than that, making him cold and bloodless. It is hard to put a finger on just what is so unsavoury about him. Anna Koval’s clear and commanding Beatrice first recoils from him and finally almost admires him, such is the depth of their depravity.

There are some memorable performances, not least Geoffrey Lumb’s gormless, toothy Antonio, Leon Williams’ lunatic Franciscus and David Cardy’s bullying Lollio, cracking his whip like a lion tamer. Ken Bones brings stature, sanity and dignity as Vermandero, Beatrice’s father. Atmospheric lighting, sinister cinematic techniques and a mad dance straight out of Bedlam make it very chilling indeed.