THE BACCHAE / YELLOW MOON / DAMASCUS
Various venues, Edinburgh
August, 2007
***** / **** / ****
David Greig thinks his translation of Euripides' The Bacchae is an ephemeral piece
of work. I reckon there are a few years left in it yet. His text,
rarely for Greek translations, is immensely playable, and playful, the latter element highlighted
by Alan Cumming's return to the Scottish stage after 16 years, in the
role of Dionysus. His characteristic irresistible smirk is hardly ever
absent, as the god of intoxication and frenzy wreaks his revenge on the
ruling family of Thebes, where his mother died unmourned. After being
flown in, upside-down cruciform, suspended by his ankles, his golden
kilt leaving his bare arse on show, Cumming's god explains that he has
taken human form to avoid dazzling us, but was uncertain as to gender:
"Man... woman... it was a close-run thing," he teases. Later, when
Miriam Buether's otherwise conservative-seeming set has burst briefly
into twin sheets of real flame, Dionysus asks mock-solicitously, "Too
much?"
John Tiffany's productions for the National Theatre of Scotland are
getting into the habit of causing Edinburgh sensations; last year Black Watch on the Fringe, now this
opening theatre offering in the International Festival. It is an
exuberant staging, but not in a gratuitous director's-theatre way.
Tiffany and Greig have taken seriously the notion that the choric
sections of Greek drama should be sung and danced; but, realising that
solemn "authenticity" would be wildly inappropriate, they turn the show
into what is in effect the Dionysus Rhythm, Blues & Soul Revue,
with a ten-strong black female chorus serving as a bacchic version of
the Ikettes. It hits exactly the right note of spiritual transport.
Tony Curran, as the god's chief persecutor King Pentheus, is a little
pale beside Cumming, but who would not be? What Curran does hit is the
king's sexual repression, liberated when Dionysus dresses him in a
green evening dress and tiara to go disguised to the bacchantes'
offstage revels where he is unmasked and torn to pieces. It is down to
Paola Dionisotti as Pentheus' mother Agave to turn the mood to tragic.
When Agave's ecstasy lifts and she realises that what she holds
triumphantly is the head not of a lion she has killed but of her own
son, Dionisotti's face crumples into itself like that of an
exceptionally dignified foam puppet. Jonathan Mills' tenure as director
of the International Festival could hardly have got off to a better
theatrical start.
Greig, meanwhile, is ubiquitous this year, with a brace of plays also
appearing at the Traverse. Yellow
Moon, which young people's company TAG Theatre toured around
Scotland last year, is a kind of modern-day young Scots' Bonnie &
Clyde tale. It is subtitled The
Ballad Of Leila And Lee, and cites the traditional American
murder ballad Stagger Lee. As
so often with Greig, contradictions are at the heart of characters'
drive, as the teenaged couple try simultaneously to escape and to find
a place of belonging, both individually and together.
Damascus, a new work staged by
the Traverse's own company, follows a Scots ESOL-textbook writer
through a brief but seismic stay in the Syrian capital, and arises from
Greig's several years of work with Middle Eastern writers. It is much
more pinned to specific places and times than is usual for this
resonantly allusive playwright. Some have also found it wordy rather
than substantial, but to me it simply demonstrates, as always in his
work, that characters think as well as feel. (Indeed, this is the
downfall of Paul Higgins' protagonist here.) Greig always pays full
respect to thought, but without exalting or aggrandising either himself
or the activity. We all do it, after all.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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