The Trojan Women
Sun, 3 Sept 2006, 02:34 pmGordon the Optom3 posts in thread
The Trojan Women
Sun, 3 Sept 2006, 02:34 pmIt is about 4 years since I last savoured a Greek tragedy, some may say that that is often enough, but it is good to occasionally remind oneself of the ancient classical style of acting. Even though most of the wailing and brow beating approach is now considered to be ‘pure ham’, done well, this style of acting can still be satisfying.
The Trojan Women covers the period immediately after the wooden horse con-trick has been perpetrated. The remaining citizens of the city of Troy, mainly women, are trying get their lives back together. Then along comes the rear attack and more of their loved ones are either killed or taken away in the boats never to be seen again.
Directed by Donald Pulford, the 80-minute play opens as a group of the women are going to pray. The massive, plain mono-toned, rust coloured flats (designer - Claude Marcos) convincingly gives the impression of the once powerful city walls. The lighting level is atmospherically low, very low, and for the next twenty minutes the action takes place in the scotopic range with most of the illumination coming from the flickering alter flame. This made my eyes feel tired and strained, and I wasn’t surprised when an audience member had a fit, probably triggered by the bright flicker frequency of the flame.
Poseidon (Walter Hanna) and Athena (Hannah Brennan) got the play off to a good start with some excellent Greek acting. The story line was a little tiring to follow, despite wonderful performances by Hacabe (Erin Hutchinson) and Andromache (Mischa Ipp) who lost their infant Astyanax (delightful 7 year old Cameron Bunney) when he was thrown from the battlements. The light-hearted piece of the play came from ‘pure’ Cassandra (Kelly Paterniti), who was getting more excited by the minute as shortly she would lose her hymen to her true love, but little did she know that the invading forces had other ideas. Some of the other actors played their parts very well but in a more orthodox manner, which wasn’t quite right for this play.
The costumes of the women were superb. The men wore basic white, short togas
A Greek Tragedy is like the beige cardigan that is lovingly knitted by a maiden aunt. A great deal of thought and skill is put into it, but will anybody like it or admire it?
It is about 4 years since I last savoured a Greek tragedy, some may say that that is often enough, but it is good to occasionally remind oneself of the ancient classical style of acting. Even though most of the wailing and brow beating approach is now considered to be ‘pure ham’, done well, this style of acting can still be satisfying.
The Trojan Women covers the period immediately after the wooden horse con-trick has been perpetrated. The remaining citizens of the city of Troy, mainly women, are trying get their lives back together. Then along comes the rear attack and more of their loved ones are either killed or taken away in the boats never to be seen again.
Directed by Donald Pulford, the 80-minute play opens as a group of the women are going to pray. The massive, plain mono-toned, rust coloured flats (designer - Claude Marcos) convincingly gives the impression of the once powerful city walls. The lighting level is atmospherically low, very low, and for the next twenty minutes the action takes place in the scotopic range with most of the illumination coming from the flickering alter flame. This made my eyes feel tired and strained, and I wasn’t surprised when an audience member had a fit, probably triggered by the bright flicker frequency of the flame.
Poseidon (Walter Hanna) and Athena (Hannah Brennan) got the play off to a good start with some excellent Greek acting. The story line was a little tiring to follow, despite wonderful performances by Hacabe (Erin Hutchinson) and Andromache (Mischa Ipp) who lost their infant Astyanax (delightful 7 year old Cameron Bunney) when he was thrown from the battlements. The light-hearted piece of the play came from ‘pure’ Cassandra (Kelly Paterniti), who was getting more excited by the minute as shortly she would lose her hymen to her true love, but little did she know that the invading forces had other ideas. Some of the other actors played their parts very well but in a more orthodox manner, which wasn’t quite right for this play.
The costumes of the women were superb. The men wore basic white, short togas
A Greek Tragedy is like the beige cardigan that is lovingly knitted by a maiden aunt. A great deal of thought and skill is put into it, but will anybody like it or admire it?
I love beige cardigans!
Trojan Women at Rechabites