Tarantino mixes with tragedy in an uneasy revival

John Webster's revenge tragedy contains a terrible timelessness. To modernise this story of a woman who refuses to be submissive and is killed by her brothers for it is to highlight the eternal relevance of male domestic violence, even against a figure as powerful as Webster's wealthy duchess.

- Arifa Akbar

Zinnie Harris's updated version from 2019, taking place in an indistinct present with swearing and sex alongside some 17th-century formalities, makes hard-hitting points on the sociopathic reasoning for murderous misogyny. But it is too much of a melange of tone and ideas. Jodie Whittaker - returning to the stage after more than a decade's absence - gives a spirited leading performance but is hamstrung by the strangeness of Harris's own production.

Is this a Tarantino-esque take on Jacobean drama or more straight-faced than that? It seems like a bit of both.