Phèdre

There is a timeless quality in Ancient Greek tragedy which speaks to our own time.  This version of Phèdre, written by Jean Racine in 1677 and translated by Ted Hughes in 1998, tells a story destined to end in grief. 

Ancient Greek tragedy scorns the trivia of life, to grapple with love, death, betrayal and heroism.

Complicating this is the part played by the gods, whose scheming and internal rivalry, acted out in Olympus, leads to meddling in the affairs of men and women. We wonder to what extent these unfortunate mortals can be held responsible for their actions. Could Phèdre ever not have lusted after Hippolytus? Was Theseus’ rejection of his son inevitable?

The loyalty shown by both Theramenes (Chris Bleby) tutor to Hippolytus and Oenone, (Naomi Voortman) Phèdre’s confidante, act as a counterbalance to the emotional turmoil of the principals whose lives spiral into disaster and death.

The stage, simple, uncluttered yet appropriate for a royal residence, sets the scene as the story unfolds. Callum Logan, as Hippolytus, convincingly portrays a fresh faced young man anxious to demonstrate to the world that he is ready to prove his bravery and heroism. He struggles with his confusion and disgust as his stepmother declares her feelings for him, at the same time acknowledging his forbidden love for Aricia, played with simplicity and charm by Mia Livingston-Pearce.

Lyn Wilson as Phèdre, also struggles with her passion and lustful desires, her sense of guilt, jealousy and final despair. Her faithful companion Oenone (Namoi Voortman) unwittingly, through her scheming, hastens the tragic end. Theseus (Stuart Pearce) allows his anger to overcome his judgement, having  finally to accept his contribution to the tragic consequences of his impulsive anger.

The success of this production lies in the language and the way in which everyone in the cast delivers. The actors use the stage to good effect, but the power of the story is in the dialogue. The scene between Theseus and Hippolytus is spine-tingling. Theramenes’ description of the death of Hippolytus is graphic and horrifying.  Phèdre’s oscillating between love, anger, jealousy and obsession reveals a woman in turmoil. 

Rob Croser deserves praise for his direction.The music, sparing but exactly right, along with the lighting and the costumes all contribute to the overall excellence of this production of a story based centuries ago, with the implied interference by the gods, but which has something to tell us of the present day, where we are quite capable of causing emotional mayhem without  gods.

Independent theatre 

Star Theatre  Nov 28-Dec 6