The White Devil

from 20th-27th February 2000 in college chapels around Oxford

The Palatine Theatre company, formed and based in Durham, arrive in Oxford with what might seem an unusual choice of play: John Webster's The White Devil. The choice of venue is also somewhat unorthodox- the play "tours" a selection of Oxford's ante-chapels, playing out Webster's dark tale of vice, corruption and revenge in imposing surroundings.

The White Devil was partly chosen to allow directorial and cast input. To a large degree this input has been to pare down Webster's text, although the lengthy cast list testifies to the fact that director Ben Naylor has tried as much as possible not to dilute the epic nature of this Jacobean revenge tragedy.Indeed the alterations are mostly successful, and the poetic rhythm of John Webster's work is not lost. Where possible asides have been replaced with freezes and it is platitudes not the passion of Webster that has been removed.

Other than a necessary trimming of the text, it seems that Palatine have also sought to bring an injection of the contemporary. Wary perhaps that Webster's seventeenth work bears, amongst some, a reputation for being over-long, difficult and archaic, the reduced text as well as the use of gangster-style costumes and specially written music can be seen as an attempt to make The White Devil more accessible. In avoiding the main Oxford venues, as in the choice of the play itself, Palatine have undoubtedly been daring. The high-ceilinged chapel certainly adds drama and intimacy to what is already a highly charged and involving work. However, at the same time, the echoing acoustics of the grandiose chapel do not always suit the mood of the piece, and do not always cover up for the minimalist scenery and props.

If the choice of setting, costume and score are novel, the production itself also falls back, at times, on some good old-fashioned ham. Jamie Campbell as Flamineo, though sneering and swaggering as his role dictates, and discomforting in the pimping of his sister Vittoria, the White Devil herself, at points borders on giving a performance which is forced and exaggerated. Jess Brooks, however, puts in a steady performance as Vittoria and Alistair Sooke impresses as the corrupt but ill-fated Duke Bracciano. The acting is thus occasionally overwrought, even for Webster's work, but, in general, sound, without being spectacular.

The work of Webster, despite being good value for money in terms of entertainment, gets relatively few airings, and, though somewhat adulterated, it is probably worth getting along to see this production for this reason alone. The choice of ante-chapel as setting is innovative, even if not entirely successful; costumes are a departure from the norm, but in substituting gangster uniform for period dress do nothing that has not been done before. The performance is slick and professional, the acting competent if not outstanding.

Dark, violent, lusty and often captivating, such as when the Duke Bracciano reaches his violent end, this performance is a successful and entertaining rendition of the hermetic world of Webster. The White Devil is a brave choice, but this production, full of nice touches, rather than characterised by general excellence, vindicates its choosing- and merits a visit.

Tom Singleton 12/02/2000