As critics and audiences digest the blood, sex and gore fest that is The Revenger's Tragedy, our intrepid Entry Pass reviewers give their opinions on this blisteringly contemporary interpretation of Thomas Middleton's restoratino classic... read on for their reviews...

After seeing The Revenger's Tragedy last night, a show that has been publicising itself on rape, murder and other general hedonistic activity, I have come to the conclusion that it has missed out on selling perhaps its greatest quality; it's bloody hilarious. It's testament to Middleton's writing that his sardonic humour manages to hold up with a 21st century audience so effectively, to a level that I have personally never experienced with his contemporary, Shakespeare. Rory Kinnear leads the cast ably as the vengeful Vindice/Piato, and he is supported excellently by Elliot Cowan as Lussurioso and Jamie Parker as Hippolito, to name a few. In terms of design, many of the costumes seem to have the feel of a 70's disco at Studio 54, and this is echoed in the general furnishings of the Palace. However, when this production displays the most ingenuity is in its music and choreography. A combination of techno and drum and bass supplied by live DJs, along with a string section and an amazing tenor serve to deliver the mood-creating music in various parts of the play, most notably the end of Act one, a frenzied murder scene as orgiastic sex is played out in the background. Also, one needs to mention Nick Rodine's movement direction (choreography) for the play, which was certainly a welcome delight, especially during the sword dance. In short, an amazing production. I can't recommend it enough.

Nick Courtman

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The Revenger's Tragedy, a gory, frankly shocking work of Thomas Middleton's is a challenging text for any director; it combines the grotesque and taboo with slapstick, and yet maintains integrity. And the National Theatre's production fulfils everything the writer created.
 
From the first moment of this show, when a great crash of music shocks the audience to silence, an atmosphere of terrifying chaos is built. The design of this show is absolutely unbelievable (notwithstanding one rather tacky projected animation). The set is effective and well-utilised, the lighting astutely plays to the action, but it is the sound design which leaves one speechless: a combination of classical violinists, heavy techno, drum and bass and suitably disconcerting vocal soloists meant that the atmosphere could be felt even if one closed ones eyes.
 
The acting is never less than good and often excellent, but Jamie Parker's Hippolito, who takes a role often considered the sidekick and makes it his own, stole the show for me. Rory Kinnear's Vindice was suitably twisted, and the two played off one another beautifully. Anjoa Andoh is also worth a mention for her seductive yet maternal Duchess.
 
Middleton was an expert of writing over-the-top masterpieces. This production could be described in the same way.

Davina Moss

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Leaving the Olivier Theatre, I recollect the motions of the thrilling journey that I have experienced. Imagine a splurge of awe, horror and delighted disgust exuding from my memory tarnished with the stain of blood, lust, and tragic revenge. Melly Still has directed a masterpiece that you will never forget. A synopsis of Middleton's plot will intrigue you, I have no doubt, but enhanced by Still's modern concept, use of music, dance and an epic revolving set, this is a mind-blowing and exhilarating production. If you are confused by the plot, the sheer vibrancy of the visual elements will keep you enthralled and entertained. In fact, even if you kept your eyes shut, you would be captivated by the mix of drum and bass and techno beats provided by DJs ‘Differentgear', a live string section and the marvellous voice of Jake Arditti that leaves you soaring in your seat. Sin, lust, sex, rape and death; this is not a play for the light-hearted. I heard a member of the audience say ‘At least with Shakespeare there's a bit of comedy relief', but for just one evening, allow yourself to be transported on a journey to the darkest depths of theatrical hell and back.

Sita Thomas

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Beginning with a crash and frenzied percussion, the orgiastic dancing of the opening four minute sequence in which the audience witness rape very much sets the tone for Melly Still's production of ‘The Revenger's Tragedy.'  The production could be described as ‘Shakespeare on speed' for the sheer energy it exudes as much as for the number of deaths and horrific blood-letting. 

Set in modern time, the cast are dressed to attend the seediest of London's new rave nightclubs.  The look is fully supported by a brilliant musical score by Arian Sutton, an electric mixture of drum and bass and techno, pumped at near-painful volume.

The very strong cast is led to perfection by brooding and misogynistic Rory Kinnear, who exploits the play's tendency to verge on parody, a result of the blood-letting and sheer gruesomeness, when he plays with the mouth of the skull of his ex-fiancée in the first scene. 

Special mention must be made of sullen younger brothers Ambitioso and Supervacuo, wittily played by Tom Andrews and John Heffernan, whose conspiratorial interludes provided a refreshing break from an otherwise relentless feast of blood-letting and lechery.

Equally impressive is the use of choreography, especially the murder scene of the second act, in which the sword-play is incorporated into the dancing before the final gruesome murder of the Duke.

This is a gruesome production of a viciously satirical play whose biting satire quite literally leaves no man standing; the stage is littered with bodies at the end.  Melly Still can be extremely proud of this visually and phonetically striking production which makes for electrifying theatre.

Francesca Donnelly