Yet Dromgoole's production shows how bankrupt such codes are, when they are upheld by figures such as Ferdinand and the Cardinal, both of whom harbor unnatural sexual desires for the Duchess. Strictly speaking, the Duchess has transgressed the prevailing moral codes of her society by choosing to act independently and have children by her lover. The effect is rather like a Jacobean royal soap opera in which the Duchess (Arterton) becomes a Princess Diana-like figure trying to cope with her domestic and private responsibilities while being aware that she is consistently under attack from Bosola (Sean Gilder), and his two evil sidekicks Ferdinand (David Dawson) and the Cardinal (James Garnon). On the other hand, the frequent reaction-shots of the audience encircling the playing area make us aware of how this domestic tragedy is being played out in a very public sphere: emotions that are customarily kept private are openly expressed, whether the characters like it or not. The camera focuses tightly on the protagonists' expressions, reminding us of just how much of a domestic tragedy Webster's work actually is. As a televisual piece of drama, this DUCHESS OF MALFI is compelling to watch. A television version of the Shakespeare's Globe Theatre revival of John Webster's Jacobean tragedy, directed by Dominic Dromgoole and with a cast led by Gemma Arterton.
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