Review: The Changeling at Southwark Playhouse

Thursday, 5th October 2023 at Southwark Playhouse.

⭐️⭐️⭐️⭐️

Reviewer: Emma Dorfman

Note: spoilers ahead…

Lazarus Theatre Company has been in the game for quite some time, and while this is the first time they’ve made it onto my radar, I certainly am happy to have finally made their acquaintance. Their latest production, Thomas Middleton and William Rowley’s The Changeling (adapted and directed by Ricky Dukes), has sprinklings of other notable, experimental theatre companies that also specialise in ‘twisting’ the classics: The Wooster Group, Punchdrunk Theatre. Kneehigh Theatre, to name a few. And despite some of this Jacobean-era play’s shortcomings in plot, Lazurus Theatre Company makes up for this with its own, compelling theatrical vocabulary.

Middleton and Rowley’s 1622 tragedy certainly smells like Shakespeare: the text remains in near-perfect voice throughout, ample asides are made to provide additional commentary for the drama afoot and there are the typical stock characters as well. Beatrice Joanna (Colette O’Rourke) and Alsemero (Mylo Mcdonald) play the lovers, Diaphanta (Henrietta Rhodes) is no doubt the confidante, Kiera Murray, Mikko Juan and Hamish Somers comprise THE PATIENTS, who function much like Feste and Fabian of Twelfth Night. Rounding out the cast is Jasperino (Dane Williams) as a braggart soldier, Vermandera (Emma Wilkinson Wright) as dominant parent and Deflores (Jamie O’Neill) as a cross between villain and repulsive gentleman. I haven’t even named the entirety of the cast, and there’s enough going on here to more than fill this condensed, two-hour adaptation. 

THE PATIENTS keep it lively throughout with three karaoke interludes. Much like the various dramatic asides, these musical bits provide the audience with some extra, cheeky commentary. Mikko Juan sings out, with all the charm of a televised 1950s doo-wop performer, ‘I know she hates me/that girl of mine’, following yet another disappointing rejection of Deflores by Joanna. Much of the cast dons blue rubber surgical gloves, snapping and ‘step-touching’ along to THE PATIENTS’ dulcet melody. This emulates the comedic tension Lazurus’ ensemble continuously brings to an otherwise very dark, bloody, murderous tragedy. As promised by Dramaturgical Consultant, Dr. Sarah Dustagheer, in the show notes, now is the point at which ‘this defensive fortress becomes the claustrophobic site of violence and tragedy’.

Deflores and Joanna are quickly and inextricably linked together in a violent plot that reveals more and more tragedy as it moves along. Without giving away too much of the action, black balloons are provided as a powerful, surprisingly cheery symbol to those who are murdered in the wake of Deflores and Joanna’s actions. Once again, a touch of whimsy is added to juxtapose their brutal deeds. Props are clearly important to the piece, and the set (designed by Sorcha Corcoran) likewise adds a new dimension to the original piece.

All 11 characters are trapped in a boardroom with a long, oblong table. Every character remains seated at the table for much of the piece and, if not, they stand in a presentational v-formation at one end of the table. When not speaking, the players are still deeply engaged and present. Though it might appear a small choice, it was a deeply effective one on the part of director Ricky Dukes. It reminds us that all of the action of Jacobean theatre doesn’t just happen to those who are speaking onstage; what is going on in the background has just as much importance.

Despite all of the successes in direction and design, however, it’s difficult to ignore the shortcomings of the original piece. The moment at which Joanna and Deflores decide to team up together has a bit too much ick-factor and ill-consent for a post #metoo staging. The ending of the piece, as well, doesn’t quite know how to tie itself back up (though it doesn’t really have to, in my opinion). Following Joanna and Deflores’ self-imposed deaths, Alsemero delivers a short lecture/speech in which it’s not quite clear what is the ‘lesson’ or ‘solution’ being proposed. It seems that Alsemero becomes somewhat of a replacement for Joanna, acting as a newly minted son for Vermandera.

So is this a lesson about finding family in others? Is it a warning against revenge? It’s all pretty much left in the air, and I’m not sure what resonance it would have to offer in 2023 anyway. Nevertheless, Lazarus Theatre Company finds inventive ways through the difficult, somewhat puzzling text, and that is something to be celebrated.

The Changeling is at Southwark Playhouse until 28th October 2023 – more information and tickets can be found here.