Dragon Review: Filumena – Yvonne Arnaud Theatre

Published on: 24 Oct, 2024
Updated on: 24 Oct, 2024

The elaborate set which helps transport the audience to Naples.

By Ferenc Hepp

It is a balmy late spring and we have been transported to the house of Domenico Soriano in Naples. Domenico (Matthew Kelly) in a state of utter frustration, having been tricked by Filumena (Felicity Kendal).

Some years before Filumena, a former prostitute, pretended to be on her deathbed, and in a moment of emotional vulnerability, Domenico had agreed to marry her, unaware of her ploy.

The opening scene is perfectly realised visually by set and costume designer Morgan Large, with a very impressive stage set, which, alongside some atmospheric pre-show music, transports us to the era and gets us prepared for the action to come.

Kelly’s portrayal of Domenico’s anger and exasperation is spot on, a man who had been hoping to marry a much younger woman, Diana (Jodie Steele), but now finds himself entangled in a relationship that has spanned 35 years.

Kendal’s Filumena, on the other hand, is shrewd and pragmatic, fiercely guarding her secrets and her reasons for manipulating Domenico.

A Bill Kenwright Ltd and Theatre Royal Windsor production of Eduardo De Filippo’s classic comed on national tour, hinges almost entirely on the strength of its dialogue, the dynamic between the two leads, and the robust performances of the supporting cast.

The initial action primarily unfolds through long, heated exchanges between the two, and while Kelly and Kendal demonstrate that they are still at the top of their game, the script’s reliance on these prolonged conversations can start to feel somewhat repetitive.

Felicity Kendal and Matthew Kelly demonstrating they are still at the top of their league.

The verbal sparring showcases the actors skills, but there are moments where the conversation seems to circle around the same issues, slowing the play’s momentum.

Jodie Steele’s Diana appears briefly, adding a bit of tension, but her role is disappointingly underdeveloped. Diana’s potential as a foil to Filumena or as a source of conflict for Domenico is barely touched upon, and it would have been interesting to see more of this. Unfortunately, she is swiftly sent away by Filumena, cutting short what could have been a more layered exploration of Domenico’s relationships.

As we move on, we are introduced to Filumena’s three sons, Umberto, Riccardo, and Michele (Gavin Fowler, Fabrizio Santino, and George Banks, respectively). It is revealed that Filumena used
Domenico’s money to raise them, but Domenico is unaware which of the three is his biological son.

This twist brings some freshness to the plot, as it shifts the focus from the couple’s personal battle to the question of fatherhood. However, the pacing of the narrative continues to be an issue.

Despite these challenges, the performances from the entire cast are praiseworthy. Kelly and Kendal bring a palpable tension and depth to their roles, and the supporting cast, including the trio of brothers, complement the leads well.

The direction emphasizes the text over any action, and while this may appeal to some, it does require a great deal of patience from the audience, as little actually ‘happens’.

The director describes the piece as, “a glorious study of life with all its foibles and twists and turns… transporting you to another world for a few hours.” It certainly succeeds in this, and its main strength comes from a very strong company of actors, some of whom appeared in previous Windsor productions, alongside others who are making their debuts.