This originator of the revenge genre in Elizabethan Theatre is rarely performed yet is the precursor of the most performed play in history: Shakespeare’s Hamlet.

By Angie Millard

Photos by John Saunders

Written circa 1587, The Spanish Tragedy predates Hamlet by a dozen years and demonstrates the development of Popular Theatre at that time.

I went to Theatre@41 in excited anticipation, and I was not disappointed. I was transported back to university tutorials and the heated debate of more than 40 years ago. Naturally, I marvelled at the streamlined plot of Hamlet which finally emerged, but I was fascinated by the process of its emergence.

A play like this needs an informed director, a clear vision, and experience. Paul Toy fits this description perfectly. I met him to discuss the play and shared some of his thoughts. We spoke of themes of revenge and justice, and the morally ambiguous consequences of pursuing these while taking the law into one’s own hands. We discussed political and moral corruption, and gradually Mr Toy outlined an argument which drew clear parallels with contemporary life.

Spectacle and performance are used throughout the play, particularly featured in the play within the play device, whereby fiction becomes reality. We are invited to see the world as the characters see it, not as it is.

In Hamlet, Shakespeare instructs the actors to speak trippingly on the tongue and Toy has made this central to his direction. He feels strongly that his actors are not playing Checkov, for example, who, with the help of Stanislavski, explored the inner life of characters but sees his actors as telling a story.

Pace and urgency carries them forward. They are, he says, barristers making statements to the jury and the audience becomes another character.

Plot is paramount. He also draws comparison with our modern taste for Mafia stories where vengeance is a prime motivator and justice is seen to be gained through action.

I could go on. However, as this is a review, let’s get back to the plot and what a plot!

I watched carefully to see his style of direction in action. Shakespeare’s Chorus in Henry V also describes ‘the two-hour passage of our play’ which gives lie to so many long performances. Paul Toy’s methods speed up delivery giving urgency and pace. There is no subplot, the text takes on more importance, action is quick and unexpected, and energy is therefore generated.

There are 17 characters in the play and doubling is required for many actors. The use of supernatural characters and ghosts is effective with a dark opening where the ghost of Don Andea (David Lee), who has been killed in battle, calls for revenge for his death. The Spirit of Revenge (Viv Wilson) appears and together they watch the play unfold. These figures seated on the balcony set the tone throughout.

The set built and designed by Viv Wilson plays a starring role. It is the first time that I have seen an inner stage used in York’s Elizabethan productions and it is very effective, with its sweep of stairs leading to a higher platform, curtained as it would have been to facilitate scene changes and monitored closely by Pearl Morrison (Stage Manager). She ensured there were no chinks or gaps as the curtains were drawn back and closed.

The lighting design created by Sam Hill, Tempest Wisdom and Wilf Tomilinson together with the music Nick Jones and Emma Scott have selected, sets a sombre mood.

Costuming is perfect in detail and fits the texture of the play superbly. Judith Ireland, Sally Mitcham, Rhianna Murphy, and Linda Lockett should be congratulated. The use of authentic Commedia Dell’arte masks made by Tempest Wisdom completes the picture.

The plot is complex, and I have no intention of taking you through this except to say that because of Toy’s emphasis on action we travel through it seamlessly. Death follows bloody death and is at times visceral.

There are set pieces which separate the action. Notably, the scene in the bower where Emma Scott playing Bel Imperia meets Horatio played by Yousef Ismail. This fine-tunes a lover’s tryst turning it into a brutal execution. The cast provide brilliant contrast and work as an ensemble. Thomas Jennings is the Machiavellian villain Lorenzo and provides excellent audience asides using facial expression and subtle gestures. While P.J Gregan as Balthazar with Isabel Azar and Martina Meyer play the part of the murderous gang very credibly. 

Another memorable scene is the hanging of Pedringano played by Isabel Azar. Azar fuels the dramatic irony of the scene as she believes that an attendant page has a box with her pardon in it. The chilling attitude of the hangman played by Alan Sharp reinforces the everyday occurrence of a public hanging which Kyd’s audience would have experienced.

The final performance of the play within a play orchestrated by the chief protagonist Hieronimo is a tour de force. All the death and violence is only leading to one outcome: his revenge for the death of his son. Summers truly inhabits the role as he progresses through the play adapting to changing circumstances. He is unswerving in his search for revenge. Summers achieves a high level of intensity yet can introduce amusing asides which humanise the character. His final act of defiance in biting out his own tongue is a real shocker, What a treat for the groundlings!

There isn’t a weak link in the chain and since not everyone can play a ‘principal’ role we shouldn’t forget that Tony Froud, Sally Mitcham, Nick Jones, Ben Reeves, Tim Holman, and Cassi Roberts are fully integral to the process and were an important part of the production.

Congratulations York Shakespeare Project!

The Spanish Tragedy is being performed at Theatre@41 until 25 October 2025.