A Review of Kylix Productions’ The Bacchae

No matter how many people are involved in a performance, the show is ultimately a reflection of not only the director’s vision but also their personality. When it comes to Freyja Harrison-Wood’s depiction of the wild and undeniably unhinged followers of Dionysus this could definitely be taken in a multitude of ways but it is by far the highest compliment I can give to say that this play really did reflect its director. A student of Classical Archaeology and Ancient History, Harrison-Wood is well placed to take on this show, her first solo directing project in Oxford Drama. From the moment the audience entered the O’Reilly we were immersed into the world of The Bacchae, the set and the pre-set transforming the space into something very new. There was a tension in the air, very little talking from the audience, as the Maenads moved in unison in the middle of the space… moved is perhaps a misleading word but I will leave you to discover precisely what I mean. Suffice to say, there is a drum beat provided by Dionysus and loud breathing that is enough to encourage the frayed nerves of an Oxford student into a full blown panic attack. (ok, so maybe I haven’t had enough sleep this week!) Other than the slightly anxiety inducing element, this (somewhat lengthy) pre-set was one of the most creative that I’ve come across.

Classical plays require their intended atmosphere to framed perfectly in order to draw in modern audiences and fundamentally a production of The Bacchae needs two things in order to be successful. One is the madness, the sheer unbridled physicality of the Maenads, and the other is a sexy performance from Dionysus. As to the first point, the chorus were a well choreographed unit, moving with fluidity and strangeness. These women represent so much that is central to the debate of female sexuality and these themes came across confidently and creatively. From the movement to the flesh coloured costumes to the blood coating Alice Wyles at the end of the performance, the Maenads were visually striking whenever they were on stage. As for the second point, the god of wine was played to perfection. Wally McCabe’s Dionysus hit the mark in their performance, particularly in relation to the physicality of the role and the use of touch when interacting with the other characters. The relationship with the Maenads were well done, but it was the first interaction with Immanuel Smith’s Pentheus which particularly stands out. This scene created a clever power dynamic, the directing playing with levels as well as indulging McCabe’s use of subtle facial expressions. There was no doubt who was in control during the conversation between god and king.

I have touched upon the visual element of this show, but really cannot stress enough the almost photographic awareness of the space. Of course, sitting in the end on side of the thrust seating I undoubtedly had the best view, but in most scenes there was cast engagement with all sides of the audience. The aesthetic of the piece was modern, with suited characters and graffiti on the brick wall set, and the mixture of natural and urban was leant into. The O’Reilly is typically known for limited sets; however, in this case the backdrop was bold and striking. Everything about this play was about how it looked, about style and stills and a heavy use of coloured lighting. It was certainly a directing approach that paid off and which was committed to down to the roses in the eye sockets of the severed head. While there were some technical issues (as can be expected with an opening night), it was the use of the space that at times provided the largest point of audience complaint. In those moments in which acting took place in the downstage right corner, the end on side were left unable to see quite what was happening. While an innovative use of the space is important, it must be said that at times simplicity is just easier to handle.

It can be hard to tackle an old text, finding a way to make it relevant to a modern audience while not losing the integrity of the original. Thus the chorus was kept and utilised in a traditional Greek manner, the acting between the highly physical elements feeling classical in the dramatic delivery. While these two acting styles felt slightly at odds, there was no denying that this would be the typical performance style. The biggest strength of the play was without a doubt the visual aspect, the physicality of the Maenads and the overall image of the piece being excellently realised. Yes, there were some opening night hiccups, but this did not detract from the overall enjoyment of this play. It is a fun, energetic and unhinged reimaging of the story which I wholly recommend seeing.

Image courtesy of Ben Johnson