WOMEN AND PATRIARCHY SERIES

THE DUCHESS OF MALFI: An Interview with
Director Diana Green

Q:  Diana, do you consider yourself a feminist? 

Tough one. I was raised by a radical feminist whose mission, it seemed to me as a child, was to be arrested in the name of radical change as often as possible. As a result I swung wildly to the other side for a decade or o, finding comfort in a placidly domestic life. But, when my marriage broke up, I returned to my roots and started my own business putting myself at the helm, so I would consider that a feminist enterprise. I think, at this point, that I would align myself with the eco-feminists, linking the betterment of women and humankind to the preservation of our earth and ecological resources. I find the following quote seems to sum up my experience as well: “I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist when I express sentiments that differentiate me from a doormat or a prostitute.” – Rebecca West, 1913

Q: If so, does this influence your work as an artist?

I am indeed drawn to work on texts that have strong female characters because I delight in reviving their stories for the younger generations. We, as a society, need to hear those stories of our ancestral mothers as often as possible to give us backup when we want to make our own arguments in support of feminist agendas. Sometimes it’s easier to hear an opinion or attitude from a “fictional” character rather than from yet another political figure.

Q: This is part of the Women & Patriarchy Series.   The Duchess and her extraordinary life and her -- I guess the word is, her "plight" -- is this an anomaly of 1612 Webster fiction and only an entertainment to 2019 audiences?  Are you moved by her situation?

I think her plight is not one that only happened “back in the day.” I think the tabloids are covered with this story on a weekly basis. Even if they can, in theory, choose their own lives, modern day female icons are still shamed by the public and the media when they make choices that don’t follow the public prescription for them. Meaghan Markel… Katie Holmes… and many women like them in positions of seeming power are controlled by the men close to them and scrutinized to an agonizing degree by the rest of us.

Q:  The story and plot is a sensational sort of over the top, i.e., murder, lust, infanticide, spies, deception, a corrupt Cardinal -- all with sweeping story-lines,  -- is that a challenge as a director.  Do you go for entertainment -- like a modern horror movie -- or do you go elsewhere.  

In Renaissance theater playwrights were in such hot competition for the attention of the public that they had to add sensational elements at every turn, much like the avalanche of special effects on Broadway today. These characters are extravagant, so to play down their situations would be to water down the production and miss all the fun of it. The extremity of the murders, madmen and corruption actually serves to highlight the lovely domestic scenes between Antonio and the Duchess, thus the contrast brings home the idea of how much nicer the world would be were it in the control of those two rather than the brothers.

Q: What's the difference between directing this play and a Shakespeare -- such as Measure of Measure?

I have found that the language is not as expertly handled here by Webster as in Shakespeare, so the beauty of the text does not stand as much in the spotlight. With this play I will focus more on the action and story line, whereas in Shakespeare I would always strive to highlight the most sublime speeches and exchanges for the enrichment and education of both actors and audience. OK, I’m a Shakespeare snob…

Q:  Does it present any unique challenges? The play calls for some insane elements that will be very challenging to get across to an audience in a staged reading. There are dumbshows that rely on lots of props and dressings, as well as characters who would be clearer with the help of costumes (madmen, for instance).  I will encourage the actors to pull out all their tricks in order to expand these larger-than-life characters to their most exciting height.

Lastly, I am struck by the large number of references to witches and witchcraft in this play. As though to be a woman who wants control over her own destiny is therefore to be a woman who fraternizes with the devil. Ludicrous, when we have these two horribly corrupt brothers who actually ARE devils! Just a thought...