“This production dismisses the clichéd image of Webster as a dramatist of death and decay. Instead it focuses on Webster’s language … and shows that women, in their sexuality and stoicism, offer a forceful counter to male corruption. An exemplary revival”
Michael Billington, ‘Devilishly Good’, The Guardian, 29 April 1996

“it’s probably best to embrace the ludicrousness of the violence, and locate the tragedy elsewhere; which is what Edwards does, and brilliantly”
Robert Hanks, ‘The White Devil, The Swan, Stratford’,The Independent, 29 April 1996

“Rightly, Miss Edwards sees the play also as an appalling comedy. It drew more laughs in any quarter-hour than the entire three hours of As You Like It”

“I doubt there has been a White Devil to match this in many years: so many vivid actors who understand perfectly what they have to say… such exuberant relish in the playing, such economy with the externals.”
David Murray, ‘Mixed Signals from the RSC’, Financial Times, 29 April 1996

“Edwards’ staging has an undoubted feminist slant- all the women are depicted as victims of male barbarity- but she never loses sight of the fact that the play is also rattling entertainment”

“Gale Edwards doesn’t downplay either the horror or the sex. This is full-blooded melodrama … and the director appears to relish it”
Charles Spencer, ‘Illuminations in a dark universe’, The Daily Telegraph, 29 April 1996

“The preposterous plot is presented with exemplary clarity”
Charles Spencer, The Daily Telegraph, 4 May 1996

“One thing that’s missing is the social dimension. Webster was much possessed not only with death but also with class … it is far from clear, in Edwards’ production, that the two siblings [Vittoria and Flamineo] and their mother are a socially ambitious family and that the Vittoria- Brachiano affair is … a breach of social demarcation lines”
John Peter, 'Two for the Road? Drama.Theatre', The Sunday Times, 5 May 1996