A Woman Killed with Kindness at the National Theatre, London
Whether or not Charles Lamb was over-generous in calling Heywood “Shakespeare in prose”, it quickly becomes evident watching Katie Mitchell’s production of his best work A Woman Killed With Kindness (first performed in 1603) that neither director nor cast have much faith in his literary merits. Frenetic stage action across an expensively exquisite split-set by Lizzie Clachan and Vicki Mortimer aims to literally bulk out what the company clearly believes is an insubstantial text, one merely possessing salacious plot elements for a prurient modern audience seeking high-brow soap-opera. In the comfortable house to the right we have the unhappy marriage of John Frankford and his wife, destroyed by her infidelity with their houseguest, Wendoll, while she is heavily pregnant. To the left, in a grander but colder manor, Anne’s brother Sir Francis Acton engages in an altogether less lusty and consenting relationship with Susan, the woman he is offered as compensation for bailing her murderer brother Sir Charles Mountford – by Charles himself.