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John Webster‟S Bosola in Context & Performance

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John Webster‟S Bosola in Context & Performance “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) John Webster‟s Bosola in Context & Performance by John F Buckingham A Submission for the Degree of PhD, Department of Drama and Theatre, Royal Holloway University of London SUBMISSION DATE 18th May 2011 1 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) Declaration of Authorship I, John F Buckingham hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 18th May 2011 2 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) This thesis argues that there is an enigma at the heart of Webster‘s The Duchess of Malfi; a disjunction between the critical history of the play and its reception in performance. Historical disquiet about the status of the play among academics and cultural commentators has not prevented its popularity with audiences. It has, however, affected some of the staging decisions made by theatre companies mounting productions. Allied to other practical factors, these have impacted significantly – and occasionally disastrously – upon performances. It is argued that Webster conceived the play as a meditation on degree and, in aiming to draw out the maximum relevance from the social satire, deliberately created the multi-faceted performative role of Bosola to work his audience in a complex and subversive manner. The role‘s purpose was determined in response to the structural discontinuity imposed upon the play by the physical realities of staging within the Blackfriars‘ auditorium. But Webster also needed an agent to serve the plot‘s development and, in creating the role he also invented a character, developed way beyond the material of his sources. This character proved as trapped as any other in the play by the consequences of his own moral choices. Hovering between role and character, Webster‘s creation remains liminally poised on ‗the dangerous edge of things.‘ Part One explores the contexts in which Webster created one of the most ambiguous figures in early modern drama - subverting stock malcontent, villain and revenger - and speculates on the importance of the actor, John Lowin in its genesis. It includes a subsequent performance history of the role. Part Two presents the detailed 3 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) analysis of a range of professional performances from the past four decades, attempting to demonstrate how the meaning of the play has been altered by decisions made regarding the part of Bosola. John F Buckingham My thanks are due to those individuals and organisations that have given permission for the non-commercial reproduction of images within this research document. These are acknowledged and cited in the list of illustrations on Pages 8- 15. I have sought permission where copyright ownership is clear. Where I have been unable to make contact or copyright ownership is unclear - especially in the case of internet-sourced images - these have been used in good faith in the interests of research and not for profit. This is in accordance with the protocols for digitising doctoral theses through the British Library EThOS programme. Anyone concerned about such issues should contact me via Royal Holloway University London. I am grateful for the financial assistance of the "University of London Central Research Fund" in funding some of my research. Thanks are also due to my supervisors, Professors Richard Cave and Elizabeth Schafer for their attention to detail and their encouragement during the long gestation of this research; also to theatre directors, Jemma Gross, Elizabeth Freestone and Dan Horrigan, and writer, Bryony Markwick, for the interviews quoted in Chapter Nine; and to my friends Martin Stonelake and Vicky Wilding for their long term support. And finally, thanks to my partner, Julie Cleminson, ostensibly for proof-reading but, above all, for keeping me safe and sane during all these years journeying along the dangerous edge of things. 4 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) To my mum and dad, Norah & Ernie. To teach a love of learning is in itself an act of love. 5 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) John Webster’s Bosola in Context & Performance By John F Buckingham 8 16 19 CHAPTER 1: BOSOLA’S PERSPECTIVE 1.1. Ideology and Audience 20 1.2. Why Degree? 27 1.3. Why Bosola? 29 1.4. Bosola as Malcontent 35 1.5. Censorship? 47 1.6. Webster‘s Chosen Audience 53 CHAPTER 2: BOSOLA, THE ACTOR & THE AUDIENCE 2.1. From Flamineo to Bosola 56 2.2. Characterisation 60 2.3. Bosola and Social Satire at The Blackfriars 66 2.4. The Actor & the Role 71 CHAPTER 3: BOSOLA AND THE MALFI ENIGMA 3.1. Editing the Text 83 3.2. Whose Tragedy? 86 3.3. Discontinuity or Inconsistency? 91 CHAPTER 4: WHAT HAPPENED TO BOSOLA? 4.1. Seventeenth and Eighteenth Centuries. 98 4.2. The Nineteenth Century 109 4.3. The First Half of the Twentieth century 121 6 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) 132 CHAPTER 5: PERFORMANCE ANALYSIS 133 5.1. Methodology 134 5.2. Director‘s Interpretation 139 CHAPTER 6: ‘UNCUT’ HISTORICISED PERFORMANCES 6.1. Manchester Royal Exchange Company (1980-81) 143 6.2. The Royal Shakespeare Company (1989-90) 159 6.3. Differences and Similarities 186 CHAPTER 7: INTERIORITY AND PSYCHOLOGY 7.1. BBC TV ―Play of the Month‖ Broadcast 10-10-1972 191 7.2. Cheek by Jowl 1995/6 213 CHAPTER 8: IMAGE AND EFFECT 8.1. The Royal Shakespeare Company 2000 265 8.2. Royal National Theatre 2003 298 CHAPTER 9: CONCLUSION 9.1. Past and Present 337 9.2. The Proliferation of Productions 340 1. A production revisited (Teddington Theatre Club 1986) 368 2. Large blocks of text often cut in modern productions 375 3. Discrepancies in text between prompt book & performance (RSC 1989/90) 377 4. Re-ordered dialogue segments in Carl Miller‘s adaptation (RNT 2003) 379 5. Professional productions in the UK between 1998 and 2010 381 382 7 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) Page 76 John Lowin, engraving by Thomas Holloway from an original painting in the Ashmolean Museum, Oxford, England, (Doran 48). 77 Patrick Wymark as Bosola. Angus McBean © Royal Shakespeare Company, 1960. 93 Michael Byrne as Alencon in “Henry VI Pt 1.‖ BBC Shakespeare, 1983. <http://www.aveleyman.com/TVEpisode.aspx?FilmID=437&Episode=16> Accessed 16/02/2011. 101 Thomas Betterton. Studio of Sir Godfrey Kneller, Bt. 1690s .National Portrait Gallery. <hhttp://en.wikipedia.org/wiki/File:Thomas_Betterton _by_Sir_Godfrey_Kneller,_Bt.jpg> Accessed 23/03/2011 102 John Mills (d. 1736) attrib. Pieter van Bleeck, probably as Pierre in ―Venice Preserv'd‖ by Thomas Otway (Garrick Club). Oxford Dictionary of National Biography: OUP, 2004. <http://www.oxforddnb.com/view/article/18772>. Accessed 15/09/2009. 104 The Queen's Theatre Haymarket, after the alterations of 1707-8. (A scale reconstruction by Richard Leacroft. The Development of the English Playhouse [Leacroft 105]) © 1973, 1988 Methuen. 106 Frontispiece of “Theobald‟s The Fatal Secret‖ 1735, (The British Library). Eighteenth Century Collections Online. Gale. Royal Holloway, University of London. <http://find.galegroup.com/ecco/infomark.do?&contentSet=ECCO Articles&type=multipage&tabID=T001&prodId=ECCO&docId= CW3313538231&source=gale&userGroupName=rho_ttda&version= 1.0&docLevel=FASCIMILE>. Accessed 15/09/09. 107 James Quin (1693–1766). William Hogarth, c.1739. Eighteenth Century Worlds (1660 – 1830). <http://www.jimandellen.org/18thcentlit.list.html>. Accessed 17/02/2011.100 110 Part of Playbill for Phelps‟s 1850 production. Theatre Museum (Victoria & Albert Museum). 8 | P a g e “The Dangerous Edge of Things”: John Webster’s Bosola in Context & Performance © John F Buckingham 2011 (RHUL) Page 114 George John Bennett (1800–1879) as Cassius in ―Julius Caesar.‖ William Sharp, after G. F. Stroehling, 1831 © National Portrait Gallery. <http://www.npg.org.uk/collections/search/portraitLarge/mw41692/ George-John- Bennett?sText=George+Bennett&submitSearchTerm_x=8& submitSearchTerm_y=13&search=ss&OConly=true&firstRun=true&LinkI D=mp52251&role=sit&rNo=0>. Accessed 25/03/2011. 115 Front Cover of “Dick‟s Standard Plays Number 350” showing Bennett‟s Bosola disguised as an old man . Theatre Museum (Victoria & Albert Museum). 125 Roy Graham as Bosola and Joy Bland as the Duchess. The Embassy Theatre Production. Uncredited photograph. The Daily Telegraph 15/01/1935. Theatre Museum (Victoria & Albert Museum). 126 Canada Lee dons „white-face‟ ... to play Bosola. New York & Boston, 1946. Museum of the City of New York &Wisconsin Center For Film & Theater Research, (Smith 270-271). 144 Programme Cover. Mike Hazledene. Manchester: Royal Exchange Theatre, 1981. 146 Dramatis Personae in categories defined by their social class. Manchester Royal Exchange Theatre Programme. Mike Hazledene (Roundhouse, 1981). 147 Bob Hoskins. Helen Mirren. Programme photographs. © Kevin Cummins. Manchester: Royal Exchange Theatre, 1981. 149 Bosola and the Duchess. Uncredited photo. Helen Mirren Appreciation Society Website <http://www.helenmirren.com/performance> Accessed 11 /02.2005. 152 The Duchess eats the apricocks. Uncredited photograph. Country Life 23/04/1981. 155 Bosola carries the dead Duchess. © Kevin Cummins. Manchester: Royal Exchange Theatre, 1980 (MacLuskie 175).
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