THEATRE:
Reviewed by: David Le Page
OFTEN the oldest of dramas attract the most radical interpretations, the recent production of Medea at the Market being but one example. Phaedra at the Civic Theatre has not attracted a radical interpretation, but it is a production where radical design, at least for South African theatre, does much to prompt the imagination into engaging a gripping and poetic drama of archetype and myth
It is a drama that in this particular instance has seen much evolution. The legendary conflict within the family of the hero Theseus was first dramatised by Euripides; Racine wrote a new version in the 17th century, of which prominent American poet Robert Lowell wrote a poetic translation in 1961, and it is in this latest incarnation that we see it detailing the tragic train of events set into motion by the incestuous desire of Phaedra, wife of Theseus, for her stepson Hippolytus.
Though ancient, it has retained all its power, perhaps since a few simple substitutions could make it extremely modern. The urge to incest has always been here, now manifest in apparent epidemics of child abuse. Manipulation by gods as an excuse for poor behaviour is isomorphic with modern self-justifications based either on childhood trauma or impossibly compelling psychological aberrations. Heroic posturing has been internalised as neurosis. And despite changes in the status of women, the outraged patriarch who destroys his family rather than endure any slight on his status remains a familiar figure.
Phaedra is played by Aletta Bezuidenhout, her sweeping brow reminiscent of the beast mother in Alien, with black pitted eyes launching smart bombs of ruthless intent. She is a study in frustrated desire, a woman scorned by life.Phaedra, perhaps realising that even in the 20th century she will live on only in the shadow of minotaur-slayer and husband Theseus, feels cursed by her mother. Pasiphae, pre- empting genetic engineering by about 3 000 years, had contrived with the help of legendary Greek nerd Daedalus to consummate her passion for a bull.
“Must the blasphemies of Pasiphae fall upon her daughter?”, asks Phaedra. Homesick for her native Crete and-lovesick for her stepson Hippolytus-with a severely underdeveloped super-ego, it seems something has indeed befallen her.
But nothing so vengeful as Camila Waldman’s make-up. As the pristine virgin Aricia, the target of Hippolytus’ awkward affections, she already has the appearance of a long-battered wife, eyes apparently grenaded with soot. Waldman makes up for it with one of the more fluid and deft deliveries of poetic language in the production. Listening to her is a constant pleasure.Which observing Hippolytus is not. Were Phaedra a building the rest of the cast would be rushing around holding up rafters left unsupported by a crucial pillar. Anthony Bishop seems constantly to be hiding behind himself, radiates persistent anxiety, and has little confidence, certainly not that befitting one who calls himself huntress Diana’s liegeman. We cannot reconcile him with Phaedra’s description: “A harsh and sullen boy”, nor even with Theseus’s cruel insult: “Your immaculate reptilian soul”. In families at least, there is always a more than a germ of truth in any insult.
Fortunately others make up for his inadequacies. Michael Richard is a splendid Theseus, all rage and thunder and clarity. The voice that has launched a thousand soap powders is more than up to commanding a thousand ships. Winston Ntshona plays Theramenes, tutor to Hippolytus, and while a little indistinct when facing you with his back, delivers a commanding monologued description of a tragic death. And behind the scenes, German designer Bettina Munzer has laboured to create a set that almost surrounds the audiences with novel spaces for the action, but which never upstages the cast.
American director Nancy Duiguid has done good: her production is not leagues ahead of South African directors, nor is it perfect; but in innovation, confidence and sheer polish Phaedra is certainly the most exhilarating play to have reached Johannesburg stages so far this year.
@SPORT