Are there any stage taboos left? John Ford‘s 17th-century romantic thriller ‘TIS PITY SHE’S A WHORE, centring on an incestuous relationship between brother and sister Giovanni and Annabella, is one of the most controversial in the classical canon and was not performed in the UK for more than 200 years until the mid-twentieth century. Does it still have the power to shock? Does anything?
Katie Mitchell’s revival of Sarah Kane’s 1998 play sees it as a ghastly nightmare, but overburdens the text with too many additions.
THREE OF THEM IN THAT MARRIAGE… You get plenty of cautionary tales in John Ford’s little-remembered 1633 play. For one thing, if you get three women pregnant at once with promises of marriage and then variously insult their appearance, age … Continue reading →