As I walk into the theatre, there is a table where I can avail a free glass of wine. With a glass of wine in hand, most of the audience prepares for the arrival of the God. As they (Dionysos played by Jack d’Arcy) arrive, we go silent, and they take their seat among us in a chair “reserved for God”. On stage is a cubical locker, door ajar, light pouring out. A pomegranate lies by the door- that later gets ripped like a throat. A dress, handed to Pentheus by Agave is locked in it, out of fear of Kadmos and the guards. And only Dionysos can make Pentheus realize and proclaim, “It is valid, this thing we call Daemonic”.
Anne Carson, in her translator’s note, ponders:
Look at Pentheus
twirling around in a dress,
so pleased with his girl-guise
he’s almost in tears.
Are we to believe
this desire is new?
Why was he keeping
that dress in the back
of his closet anyhow?
The Bakkhai does something original with the text, it builds Pentheus’(Tomás Azócar-Nevin) history, showing them as more than just a young tyrant ruler, but a person reacting to toxic social norms. We see their vulnerability, discomfort, fear, desire to fit in, and desire to break free. Pentheus comes undone at the sight of Dionysos, and Dionysos’ despair on hearing the prophecy from Tiresias (Jessica Enemokwu) pulls on the audience’s heartstrings. Azócar-Nevin’s performance as a vulnerable Pentheus is spectacular, generating empathy for the character so often seen as hot-headed and arrogant. Scenes between him and d’Arcy are electric, adding depth to both characters.
It is difficult to retell a story that has been told since antiquity, but Maisie Newman (Director and Adaptor) and Julia Head (Dramaturg) interpret this tale as old as time seamlessly. Newman says that she had to destroy the text before adapting it, and dare I say she adds to Carson’s retelling in necessary and powerful ways. Newman and Head unbind the text, extract from it, add to it, and then rebind it in ways that show deep appreciation for the play and the possibilities it presents. It is a Queer imagining that boldly tackles the politics of the writing and telling of history. Kassia (Olivia Ng), shown as a member of the palace cleaning staff, reminds us that language matters. She says, “stories outlive flesh” and “our stories are told through their words”.
Bakkhai carves a new version of this play into history. It is an original take that is subversive and defiant, yet deferential to this classic myth. Bakkhai presents magnificent performances from the entire crew, immersive lighting and sound design, and a script and direction that is novel and relevant for our time. It is a wonderful production that doesn’t shy away from asking the audience to think and pay attention to our world today. It runs at the National Youth Theatre from the 29th April to 5th May 2023.
Reviewer: Anisha Anantpurkar
Reviewed: 4th May 2023
North West End UK Rating: ★★★★