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With an original score by Torsten Rasch, The Duchess Of Malfi rendered the dark heart of Webster’s classic tragedy of intrigue, murder and revenge into an epic immersive opera.

Told by an ensemble of 21 singers and dancers, the production featured a 69-piece symphony orchestra roaming across the 136,000 square feet of a decommissioned pharmaceutical headquarters in London’s docklands. Tickets for the entire run of performances sold out on the day of release.

Site kindly donated by Notting Hill Housing Group.

Sponsored by Courvoisier.

Fantastic in the most literal sense: if there were ever a candidate for a six – star review, this would surely be it.

– Hannah Nepil, Time Out

Creative Team

  • Directors

    Felix Barrett & Maxine Doyle

  • Senior Producer

    Colin Nightingale

  • Choreographer

    Maxine Doyle

  • Designers

    Felix Barrett, Livi Vaughan, Beatrice Minns

  • Lighting Designer

    Euan Maybank

  • Sound Design & Composition

    Stephen Dobbie

  • Costume Design

    Tina Bic√Ęt

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  • A number of decorative trees in a room with orange spotlight
    Duchess of Malfi 1 Punchdrunk’s The Duchess of Malfi. Photo by Stephen Cummiskey
  • Man and woman fighting on a bed
    ENO: ‘Duchess of Malfi’ Punchdrunk’s The Duchess of Malfi. Photo by Stephen Cummiskey
  • A number of hanging lights and sheet music hanging form the ceiling
    ENO: ‘Duchess of Malfi’ Punchdrunk’s The Duchess of Malfi. Photo by Stephen Cummiskey
  • A group of people looking past the camera
    ENO: ‘Duchess of Malfi’ Punchdrunk’s The Duchess of Malfi. Photo by Stephen Cummiskey

“The show lingers in the back streets of your imagination, like a grotesque act of violence glimpsed through the window of a speeding train.”

– Ben Brantley, The New York Times

“Punchdrunk describes its work as ‘immersive’, and it is. It changes you from being a distant member of the audience to a voyeur (of the wild sexuality of the duchess and her servant Antonio) or a witness (to Malfi’s horrific end), and there are moments when you feel – as a dancer’s body brushes against you – dangerously close to an accomplice”

– Kate Kellaway, The Observer
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