LONDON — Family life doesn’t have much going for it in “The Duchess of Malfi,” the blood bath of a play from John Webster in which corpses are piled high by a conclusion that is merciless even by 17th-century standards.

Centering on an ill-fated Italian noblewoman and her two venomous brothers, this favorite of the London stage has resurfaced in a sleek, stylish production from the director Rebecca Frecknall, at the Almeida Theater through Jan. 25.

Frecknall made her name on this stage with a highly abstract production of “Summer and Smoke” in 2018 that made its way to the West End. The similarly stripped-back, installation-art feel to her latest production is of a piece with the Almeida’s Continental aesthetic, as filtered through such English directors as Robert Icke, a former Almeida artistic associate.

Much of Chloe Lamford’s set — itself ready for display in Tate Modern — is given over to a glass box that makes the characters into human specimens on display. Microphones appear on cue, and chapter headings let us know where we are in Webster’s labyrinthine narrative.