Jenna Berk as Annabella and Danny Cackley as Giovanni. Photo by Claire Kimball.
Sitting down in the performance space of Brave Spirits Theatre before last Friday night’s performance of “’Tis Pity She’s a Whore,” I smiled to hear Soft Cell’s “Tainted Love” playing in the background. The song is pretty apt for John Ford’s 17th-century revenge drama that revolves around a brother and sister’s incestuous relationship. This company’s production features riveting performances that bring Ford’s twisted tale to life with plenty of blood and fun.
Set in the Italian city of Parma, the play opens on Giovanni, already struggling with incestuous feelings for his sister, Annabella. Though advised by his mentor, Friar Bonaventura, to seek forgiveness for his sinful thoughts, he instead confesses his feelings to Annabella and is startled to learn that the attraction is mutual. As the siblings embark on a clandestine romantic relationship, they are surrounded by other players who are each out for their own individual ends: the couple’s father, interested in marrying her off; Annabella’s several disappointing suitors, Bergetto, Grimaldi and Soranzo; Soranzo’s deceitful servant, Vasques, and his betrayed lover, Hippolita; as well Hippolita’s disguised, revenge-seeking husband. In an environment where marriage is a commodity, and business is done in bloody double-crosses, the couple’s explosive secret heightens the tension and pushes the play towards its conclusion.
Charlene V. Smith, as director, does a fine job pitching the play to a modern audience. Efficient staging and visual cues will make the show accessible for audience members unfamiliar with the story. Impressive blocking calls attention to characters who are listening, waiting and plotting, and Smith makes full use of the intimate space and the thrust stage by having performers enter and exit while addressing their many snide asides directly to theatre goers. The lack of a fourth wall makes the audience feel complicit in a play where there are almost no innocent characters.
Despite its grim subject matter, the production balances darkness with light. Brendan Edward Kennedy as Annabella’s ridiculous suitor, Bergetto, brings some well-earned comic relief to the first half. Sucking on lollipops provided by his trusty servant, Poggio, Bergetto’s ignorant antics call attention to the poor state of the bachelor market in Parma. Briana Manente steals the show as Soranzo’s double-dealing servant, Vasques. In dark lipstick, complemented by a slate duster and a cigarette behind her ear, she gives evil a good swagger. Her quicksilver changes from earnest manipulation to careful plotting, punctuated by sly asides to the audience, provide much of the enjoyment in the second half.
…features riveting performances that bring Ford’s twisted tale to life with plenty of blood and fun.
The two leads meet the challenge of making such a controversial relationship believable. Jenna Berk plays Annabella as genuine and intelligent and makes her very conflicted feelings accessible. Danny Cackley complements her well as Giovanni, earnestly tortured before his descent into jealousy. They are supported by a solid cast, especially Kathryn Zoerb as Annabella’s smart and snappy tutoress, Putana; Ian Blackwell Rogers as self-serving Soranzo; and Rebecca Ellis as Hippolita, Soranzo’s angry, conniving ex-lover.
The direction and stellar cast work seamlessly with a superb design crew. Leila Spolter’s set design is efficient and minimalist, which helps to emphasize the cast shadows of Jason Aufdem-Brinke’s lighting. Costumes by Adalia Tonneyck adhere to the minimalist theme while being character-appropriate. The dynamic fight sequences are courtesy of Casey Kaleba, Fight and Blood Director.
As might be suggested by the presence of a Fight and Blood Director on the production team, the second half features some gore. As betrayers get betrayed, and Annabella and Giovanni’s secret comes closer to being revealed, the tension builds to a shocking climactic scene of simulated sexual violence that left a few audience members open-mouthed. It’s not necessarily out of character for such a dark play, but it may mute the effect of the show’s incredibly-orchestrated finale.
Though not for the faint of heart, this production excels in underlining the perverse enjoyment to be had from the revenge tragedy genre; these plays are at their most delightful when characters conspire and connive. With its extraordinary cast, “Tis Pity She’s a Whore” will give audiences a wicked good time.
Running Time: Approximately 2 hours, 20 minutes, including a 10-minute intermission.
Advisory: Not recommended for children under 13. Scenes of simulated graphic violence.
”Tis Pity She’s a Whore’ runs through April 23 at the Convergence Lab Studio Theatre, 1819 N Quaker Ln, Alexandria, VA 22302. For tickets call (240) 516-8745 or purchase online.
