The Bacchae: Burning Water, by IRAA Theatre, -REVIEW-Feb 19, 1994

 THEATRE

 by IRAA Theatre, After Euripides; Bacchae

At IRAA, Lowther St, Alphington

Reviewer: Kate Herbert around Feb 19, 1994

This review was published in The Melbourne Times after Feb 20, 1994

 

Never expect a traditional performance of a classical play from IRAA. In The Bacchae: Burning Water, director, Renato Cuocolo, once again employs his vigorous "psycho-physical" acting technique to create an intense and rhythmic collage of text, imagery, passionate performances, resonant emotional content and rich soundscapes.

 

There is a strange, mythic and mystical atmosphere in the tiny church hall in Alphington. This is not The Bacchae, but a mesmeric journey into some dark other world which resonates with Euripides’ Bacchae but disconnected excerpts of text from Euripides, Joyce, Mann, Koltes and Robbe-Grillet. It has the distinctive and masterly direction of Cuocolo.

 

The piece is a battle of wills between Pentheus the rigorous, rational and rigid Pentheus and the passionate desire of Dionysus. It could be Pentheus' own internal war: "The Dream of Pentheus". The darkened space, hypnotic music, prolonged stillness and silence, repetition of words and actions are all elements of dreams and echo Jungian symbology.

 

At times the dream turns to nightmare. The horror of the slaughter of Pentheus (Robert Meldrum) by his mother Agave (Catherine Simmonds) is both heightened and undercut by simple verbal description and non-violent images. The unseen violence is more potent.

 

The whole performance takes place in shallow water, a symbol of the sub-conscious and emotional life. Pentheus refers repeatedly to buildings and walls, all evoking the self and containment. Reflections, mirrors, blood-red blindfolds, milk are all rich with symbolism.

 

The rippling light on water was breath-takingly beautiful as it dappled actors' bridal gowns like watered silk.

 

The dark honey voice of Meldrum, both live and recorded, is almost meditative and when he wails for Mum, we all feel the pain of the "child-man". Actors Simmonds and Nadja Kostich are strong and lyrical presences as the Maenads and Tony Yapp as Dionysus has an eerie and powerful androgyny.

 

 

KATE HERBERT   19.2.94        300 wd