I have been waiting to see this play for a decade - and seeing it at the beautifully candle-lit Sam Wanamaker Theatre was an added bonus. The lead actors - the Duchess etc - were superb, there were some fun, comedic moments and while I am a sucker for period dress and stage sets which this production lacked, I loved it nevertheless. It started off with a song and dance - would have nice to have ended with one - but definitely a fantastic production.

This was one of the strangest nights I’ve spent in a theatre! I’m not sure if it was the direction, acting or the audience, but repeatedly the auditorium rang with laughter. Intentional or not, it was an odd reaction. The whole thing did feel a little like a community theatre production, though that isn’t to say some of the actors weren’t brilliant in the roles. Though some were not the hammy death by poisoned Bible scene with Julia elicited a lot of mirth, and frankly rightly so. I’m still torn whether Ferdinand’s reaction to the death of his sister was meant to be intentionally funny or not. I myself didn’t find it funny, but was clearly in the minority. Similarly, the companion scene of the discovery of the bodies of Antonio, Ferdinand and his co-conspirators elicited the same mirth. A very odd night and not worth the £65 a head, or the 4 months of anticipation since buying the ticket. I think if this had been the opening production in 2014, we wouldn’t be in 2024.

Was really looking forward to seeing DofM at SW playhouse but was disappointed. From the uninspiring costumes to the fact an actor was covering for one of the main characters and therefore had to read from the script throughout, it felt slightly amateurish. I think sometimes best to not try to reinvent the wheel. Probably should have read more reviews before I went

Rather than seeing this production, I would recommend watching the film of the 2014 one directed by Dominic Dromgoole and staged for the inauguration of the Wanamaker. I have a wonderful memory of it: it was faithful to the text and its meaning, excellently interpreted and coherent in all its aspects, from costumes to music to design and lighting. The themes and dramatic action perfectly fitted a candle-lit theatre. The current production is just one of the actor-oriented, age-blind, gender-blind, politically correct, anachronistic, tasteless productions which the Globe has been indulging in in the last lustre: full of weird gimmicks, trying to resemble musicals, addressed to the uncomprehending multitudes who have never read any Elizabethan or Jacobean play and couldn’t care less about contextualizing them and understanding their meaning. This kind of cynically populistic show is not worth the money you spend to watch them (with a poor view) from the Wanamaker/Globe 's very uncomfortable seats.

Some good acting in parts but not what I expected - seemed a little too light weight for a play of this type. Cast worked hard though. Overall slightly underwhelming-

How disappointing this production is . A few good performances ( for instance Ferdinand ) good use of sound effects annd music , and a competent staging could not rescue it from being a production without central direction. Cheap laughs ,especially from the Duchess’s comic moments set a jarring tone at odds with the soaring poetry of Webster’s verse. The Duchess needs to have a commanding aristocratic presence , both a stateliness and a sensuality which were lacking here with this girlish , frenetic interpretation. While she enunciated the lines well enough she lacked the emotional sensitivity to their meaning and for all her histrionic yelling or weeping it rang hollow. Some supporting roles , particularly Bosola , gave workmanlike performances and the textual cuts were well selected . Overall though this was a shallow silly production which failed to convey the Emotionally tragic power of the text , nor do justice to the grandeur of the poetry .