STAGE REVIEW: The Duchess of Malfi - at the Swan Theatre, Stratford-upon-Avon, until Saturday, August 4, 2018.

TWO points - two observations on this dark, menacingly macabre tale of masculinity and revenge.

The purpose of the carcass of a large beast, possibly an oxen, dragged to one corner of the Swan’s simplistic if not stark set? Secondly, why was so much blood steadily allowed to seep across the stage as it inexorably spread towards an audience already cowering beneath protective covers?

John Webster’s story - written in 1612 - is loosely based on terrible events that apparently occurred between about 1508 and 1513 when, in a continuous callous campaign to prevent the fiercely independent Duchess from marrying the man she loves, her brutally corrupt brothers embarked on a disturbing quest to destroy her and those who cared.

True love is at the heart of this tragedy which has moments of grotesque violence, and also specks of dark humour as it reveals motives of revenge can be so toxic as to blur thoughts and deeds which eventually leave the perpetrators questioning their motives and actions to the point of regret.

As for the beast and the blood, the ‘heavy’ carcass had initially been dragged on stage by the Duchess of Malfi, magnificently portrayed throughout by Joan Iyiola.

Hauled into one corner at the rear, and hoisted up, it hung there somewhat like the metaphorical idiom of the elephant in the room.

Ignored throughout the first act, it was punctured early in the second and out seeped the blood which spread far and wide.

Executions and fights ensued in and around the mess - but neither of these actions needed a bloody platform to be performed. And boy, the laundry bill must be high!

The spread of red also created an amusing aside as the cast moved around with care to avoid slipping although they couldn’t prevent off-putting squelching noises as they trod back and forth.

Not entirely convinced all this was completely necessary.

The beast and the stark set created a contemporary focus on the male species and madness and at the same time encouraged an analysis of dangerous and violent men and their need, or the urge, to go to such brutal extremes. A factor so prevalent in the world today in a number of dangerous and war-torn countries.

Director Maria Berg ensures the point, ignoring the beast, is well made.

The cast is superbly led by Iyiola who was truly outstanding in all areas. A perfection of presence and poise.

If only more actresses possessed her clarity of speech we wouldn’t get the incessant grumbling from audiences these days, whether it be film, television or stage, asking - ‘What was that?’ or ‘What did they say?’

Some fine performances too from her brothers Ferdinand and the Cardinal, Alexander Cobb and Chris New, and also Amanda Hadingue as the Duchess’s waiting-woman, Cariola, and the cast in general.

Although it could be termed heavy in parts, and considerably wordy, there is plenty of action in what is a relatively short play of two hours and five minutes duration.

It’s a fascinating and thought-provking story and clearly earned a rapturous ovation - one which all the cast deserved.

It’s worth the effort of a trip, if only to witness the splendid Iyiola, and to enjoy the excellent music led by David Ridley.