“Where words fail, violence prevails”
You enter the Old Red Lion for Thomas Kyd’s Elizabethan revenge thriller The Spanish Tragedy to find that Dexter Morgan has been on the case. Lizzie Leech’s design for the auditorium has it bleached out in antiseptic white, meat hooks hanging front and centre, strips of opaque plastic hanging from the ceiling facilitating the swift despatch of bodies. For there’s a goodly deal of despatching that needs to be done by the time this bloodthirsty lot is done.
Dan Hutton’s production condenses the text down to 85 minutes (and presumably even less, given “additional material by the company” is also credited) but the frame of the story remains intact, with a nifty bit of gender-swapping to boot. Lorenzo (maybe) loves Balthazar who loves Bel-Imperia who loves Horatio, so Lorenzo has Horatio killed which doesn’t sit too well with Hieronimo, his mother who vows revenge. But not Revenge, who is also present in human form along with a ghost called Andrea. Continue reading “Review: The Spanish Tragedy, Old Red Lion”
“Vengeance is mine. Ay, heaven will revenged of every ill”
The Spanish Tragedy was written by Thomas Kyd in the 16th century and is regarded as one of the first ever examples of the revenge tragedy. Kyd’s play proved to be highly influential on other Elizabethan writers such as Marlowe, Jonson and indeed Shakespeare, Hamlet in particular takes much inspiration from several key elements of this play. It is presented here at the Arcola Theatre in Hackney, one of the most interesting fringe venues in London, with a great cafe and bar for pre/post-show interactions.
In the aftermath of a bloody war, the royal leaders of war-torn Spain and Portugal plan a marriage between their families in the hope of forging peace. But the bride already has a secret lover. When he is murdered to make way for the new groom, his father Hieronimo is forced down a brutal path of vengeance from which there is no return. Watched throughout by the ghost of a soldier and Revenge, personified here by a chillingly played, creepy little girl, there seems no doubt about the inexorable path of vengeance that Hieronimo takes, the implication being that their supernatural influence is guiding the grieving father. Yet the heart of the play is more about the human reaction to being wronged, and the pervasive need for retribution, no matter the consequences. Continue reading “Review: The Spanish Tragedy, Arcola Theatre”