Filumena, Theatre Royal Windsor - A Classic in every sense
Felicity Kendal and Matthew Kelly in Filumena. Image by: Jack Merriman
⭑⭑⭑⭑ - 77% • 3 minute 36 second read.
Filumena, currently running at the Theatre Royal Windsor before heading out on a short tour, is a refreshing and timeless piece of theatre, bringing a classic Italian drama to life with vibrant performances and a keen sense of style. Eduardo De Filippo’s 1946 play has been given a thoughtful revival, blending the charm and wit of its period with an immediacy that feels relevant for modern audiences. This production offers a wonderful balance of humour, emotion, and nostalgia, proving that some stories stand the test of time.
Felicity Kendal takes on the title role with her trademark poise and depth, delivering a nuanced portrayal of Filumena, a former prostitute determined to secure a future for herself and her children. Kendal’s performance is commanding, offering a full range of emotions, from fierce determination to heartfelt vulnerability. From her very first appearance on stage, she holds the audience in the palm of her hand, pulling us into Filumena’s complex world. The balance between the character’s tough exterior and her softer, more maternal side is beautifully rendered, making Kendal’s portrayal both compelling and emotionally resonant.
Matthew Kelly brings sophistication and control to the role of Domenico, commanding the stage with an effortless authority that draws the audience in without feeling overplayed. His performance is marked by a precision that never seems rehearsed or placed; rather, Kelly moves through the role with an instinctive fluidity, allowing Domenico’s frustrations, vulnerabilities, and charm to unfold naturally. Whether delivering a biting retort or a quiet moment of introspection, Kelly’s nuanced approach ensures that every gesture and line feels purposeful yet spontaneous. It’s a masterclass in how to maintain a presence without overpowering the scene, creating a character who is both deeply flawed and wholly compelling.
The supporting cast adds a great deal to the overall success of the production, though I must offer particular praise to Sarah Twomey playing Lucia, Filumena’s loyal housekeeper. She brings a natural warmth and humour to her role, offering moments of levity that contrast beautifully with the more serious undertones of the story, and her physical comedy skills are commendable.
Jodie Steele, best known for her roles in musical theatre, impresses in her first straight play as Diana, the glamorous young woman romantically involved with Domenico. Steele brings a confident energy to the role, making Diana more than just a secondary character. She infuses the part with a boldness and sharp edge, capturing Diana’s frustration and ambition, and is delightfully funny. Her presence on stage feels assured and natural, proving she’s just as capable of commanding an audience with dialogue as she is with song. It’s a performance that suggests Steele’s versatility and hints at a promising future in dramatic roles.
The set design deserves particular praise for its elegance and attention to detail. The stage is transformed into a beautifully realised version of Domenico’s home in Naples, with a lived-in, slightly faded grandeur that perfectly mirrors the emotional complexity of the play. The design never overwhelms, but instead enhances the storytelling, creating a space where the drama can unfold naturally. The lighting is subtle yet effective, shifting tone and atmosphere in a way that complements the performances without drawing attention to itself. Together, the set and lighting work in harmony to create a vivid environment that really does transport you to Southern Italian opulence.
What stands out most about this production of Filumena is how successfully it captures the timeless feel of a classic play while keeping it engaging for a modern audience. It is a perfect example of what makes a story stand the test of time. The world may change in large ways, but humans will always be humans, so if you write stories with them as the centre, the themes will resonate across time and place. Family, class, nepotism, generational wealth and a mother’s need to provide - all themes just as relevant today as in 1946. While some of the language and discussions around women in Filumena undeniably feel of their time, they still resonate in a way that feels strikingly relevant today. The play’s portrayal of men speaking about women, particularly when women aren’t present, offers a sharp reminder of attitudes that persist, making the audience reflect on how much—or how little—things have changed. Rather than feeling outdated, these moments serve as conversation starters after the show, sparking thoughts on gender dynamics, power, and respect, and reminding us that while the world has moved forward, certain attitudes still linger beneath the surface.
Theatre Royal Windsor and Bill Kenwright Ltd’s production of Filumena is a success. Felicity Kendal and Matthew Kelly command the stage with undeniable connection and confidence, alongside a strong supporting cast and a thoughtfully crafted set, this is a production that leaves a pleasant aftertaste. It is a classic in every sense, executed with a keen understanding of what makes great stories resonate across generations. A solid four-star production that offers both entertainment and substance, making it a thoroughly worthwhile evening at the theatre.
Filumena can be seen at Theatre Royal Windsor until October 19th, before playing in Guildford, Cambridge, Bath, and Richmond. The tour concludes on November 25th.