When the performance of Suppliants begins at the Odeon of Herodes Atticus in
Athens, we hear slow, throbbing, funereal music and nine women dressed in black
enter slowly, wailing. There are no words, just a simple eeeeeehhh. The women
are the mothers of the Argive chieftains who were killed when they
unsuccessfully attacked Thebes. Creon, the autocrat of Thebes, is refusing to
give the bodies to the mothers so they can give them a proper burial.
Suppliants is
another chapter in the woes of the Royal House of Thebes. You will recall that
King Oedipus inadvertently killed his father and married his mother. On finding
out what he had done, he blinded himself and left the kingdom to his sons
Eteocles and Polyneices. The brothers had a falling out and Polyneices eventually
got help from Argos and with six other chieftains attacked the seven gates of
Thebes. Polyneices and his allies were all killed as well as Eteocles. That
left Creon in charge and possession of Thebes. It is here that Suppliants begins.
The production under review is a joint effort by the National Theatre of
Greece and the Cyprus Theatre Organization and stands as an example of Ancient
Greek Tragedy at its best.
It provides what can be done with imaginative use of the Chorus. Director
Stathis Livanthinos and Choreographer Fotis Nikolaou make outstanding use of
the group. The simple lament expressed at the opening of the performance is not
indicated in the text. The play begins with a lengthy speech by Aethra (Katia
Dandoulaki), the mother of Theseus (Akis Sakellariou), who gives background
information and sets the stage for the play.
In addition to the simple but effective choreography of Nikolaou, the
production benefits from the music of Angelos Triandafyllou. He has composed moving lamentations that are sung
with superb expressiveness by the Chorus. The women can sing, and their chants
are a major part of the success of the production.
Theseus is the king of Athens and is supplicated, indeed begged by the
mothers to rescue their sons’ bodies so they can give them proper burial. He is
arrogant to the point of rudeness and questions King Adrastus of Argos about the
wisdom of his people’s involvement in the attack on Thebes in support of one of
Oedipus’s sons. Sakellariou, dressed in pure white, his arm stuck up in the air
when he orates, is the epitome of youthful haughtiness.
King Adrastus is essentially a man who has been defeated and humiliated
as a result of some serious errors. He is desperately trying to maintain some
pride and dignity. Christos Sougaris does a fine job as the pathetic king.
There is a Messenger (Andreas Tselepos) who tries to outdo Theseus in
arrogance and argumentativeness and a Herald (Harris Charalambous) whose job it
is to bring the good news of Theseus’s victory over the Thebans and my goodness
he is eager to do it.
Notably fine acting is displayed by Doundoulaki who shows sympathy for
the bereaved women and is able to stand up to her conceited son and be
instrumental in changing his mind.
We then hear a beautiful ode sung by the children of the slain chieftains.
The choir is in the audience and they stand up and sing from their seats. Quite
beautiful.
As is if that were not enough, the goddess Athene drops in to tell us to
love Athens. Theseus has already told us how great Athens is as a democracy
compared to the autocracy of Creon. In fact the play has a decidedly political
angle. The ancient myth of the Royal House of Thebes meets the present (422
B.C) as the city-states are involved in a brutal civil war that will destroy
them. Euripides wants to praise Athens and he does.
The costumes are basically modern. The women of the chorus wear black
dresses and Aethra in a white robe with a red dress looks stylish.
The stage has indications of stumps of burned trees with one of them set
on a mound. That will serve as the symbolic pyre on which Evadne is burned.
I have nothing but praise for a brilliantly conceived and superbly
executed production.
_______________________
Suppliants by Euripides in a coproduction by the National
Theatre of Greece and the Cyprus Theatre Organization in a translation by Giorgos Koropoulis was
performed on September 5, 2019 at the Odeon of Herodes Atticus, Athens, Greece.
James Karas is the Senior Editor - Culture of The Greek Press. greekpress.ca
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