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The scope and ambition of Moira Buffini's new play, which yokes contemporary politics with classical tragedy, is awesome. And in a suitably epic production by Richard Eyre, it's vital, gripping, intelligent and passionate. It's also sprawling and at times unfocused - but then, for a depiction of a conflict-ravaged state on its knees, struggling to stand up amid the rubble and rebuild, even that doesn't seem entirely inappropriate.
The setting is a modern African country called Thebes. Here, the new elected president Eurydice, widow of former ruler Creon, has formed a government dominated by tough-minded women and is fighting to bring democracy to devastation. The opposition - led by Tydeus, a crazed devotee of Dionysus who believes himself possessed by the god - watches with power-hungry eyes, and rebel militia, among them child soldiers, stalk the city. Forced to turn to a super-power for support, she welcomes Athenian leader Theseus, who 'copters in with his aides and expresses a loud and patronising admiration for Theban culture, while keeping somewhat quieter about his contempt for a people he regards as primitive and superstitious. Meanwhile, Antigone, daughter of the cursed Oedipus, maddened by trauma, wails over the unburied body of her sadistic warlord brother Polynices, and the blind seer Tiresias foretells more horror to come.
Resonances come like a hail of bullets. Ellen Johnson-Sirleaf's Liberia, the South African Truth and Reconciliation Commission, gender politics, the West's involvement in Iraq and Afghanistan - all are evoked in a drama that also embraces the personal detail in the flux of violent history. There are shattering accounts of rape and slaughter; one such is spat out directly at the audience by a slender, enraged young girl soldier (Madeline Appiah), who threatens us with a machine-gun and who, despite her bitter bravado, cannot keep the tearful tremble out of her voice. And the acting, on Tim Hatley's set of blasted architectural antiquity, is impeccable, with David Harewood a smoothly supercilious Theseus, Nikki Amuka-Bird a dignified and courageous Eurydice and Chuk Iwuji a frighteningly unhinged Tydeus. Like Eurydice, Buffini isn't always in perfect control here, but her creation is rich, vivid and deeply stirring.
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First play I saw at the national theatre. Being a young person I am only beginning to explore the vast horizons of theatre, so as far as things go, you may count me as 'the man in the street'. I wasn't sure what I was expecting. It had a title which carried joyous and ancient connotations. I was pleasantly surprised.
I agree with Ellie and David Cooper. Please do not let the poor ratings put you off.
I thoroughly enjoyed the play. The tone was set with the strong, abrasive language, and charged emotions in the prologue. I was hooked from then. I loved the originality of the plotline. Setting the key dilemmas of ancient society (which many philosophers of ancient times pondered over); over ideas such as democracy and equality, and mixing it together with issues of today, such as feminism, dictatorship and military rule, was a fantastic and truly original idea.
The cast were fantastic. Notable actors in key roles such as David Harewood played their roles with true passion. The cast is mixed, but this does not add to the depth of the issues, it only makes the audience want to draw comparisons to current issues.
One of the best truly original plays I have seen. I thoroughly recommend it (not to under 12s though!!)
Reading the aforementioned comments, I must have seen a different play! Powerful, thought-provoking, alternately humorous and moving. I was blown away by Nikki Amuka-Bird who was utterly convincing as the woman forced into politics through circumstance -- powerful and passionate; and David Harewood, who I'm not usually a fan of, was equally impressive. Didn't get the faintest whiff of ham or pretension, instead enjoyed a magnificent production. I'd give it four out of five and say it's a must see, and I'm neither a politically-correct lobbyist nor a left-wing apologist! I didn't realise it was 'an ethnic offering': Moira Buffini is white as is Richard Eyre, and the cast is mixed; but such things don't bother me -- I just appreciate good theatre whoever's involved.
Was wondering whether to go and see this show, but
the comments above from ordinary punters are putting me off. I assume that
the politically- correct lobby and left-wing apologists are working on all cylinders to make out that this is a good show. I am very suspicious of professional critics, who
have vested interests and thier own agenda, and don't have the courage to
criticize `ethnic` offerings and soft-pedal accordingly . . . ` sprawling and unfocussed` .. ??? isn't always in control ?. . .Sorry . at present that's enough to put
me off. Will wait for more comments from the man-in-the -street.
I agree with Abel and David - awful show. The smug, undergraduate politics of the writing, it's tedious attempts at contemporary relevance, and the squirmingly awful attempts at comedy are utterly terrible. Plus the shouty acting - it is an INCREDIBLY hammy production so in love with itself. I lasted an hour. Avoid.
I entirely agree with Abel's review.
Dreadful.
I can only presume that it has received good reviews from professional critics through a wish to seem fabulously cultured and erudite.
If you wish to be relentlessly beaten by the dead hand of pretension then this play is for you.
The first professional play I've ever walked out of in London, in 25+ years of going to the theatre in the city. Some of the actors (notably David Harewood) manage to struggle valiantly against an inept script - patronising, preach-y, just poorly written. And as for the direction - did Richard Eyre actually spend any time whatsoever with the company? Truly, truly awful.
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