Anne Carson
Anne Carson’s adaptation of Bakkhai is onstage at the Almeida. The second instalment, of the Theatre’s Greek season and the cast includes Ben Whishaw and Bertie Carvel.
Whishaw as Dionysus, introduces the play under the guise of a human. Pentheus (Carvel), Dionysus’ cousin is the ruler of Thebes. Guarding this precious title he rejects his relative’s supernatural heritage ending in true Greek tragedy style, murder and exiles. The critics have compared Dionysus to Conchita Wurst, which rightfully is humorous however the costume choices pair perfectly with each character’s traits.
Dionysus/Pentheus
Three characters play several parts and Carvel’s performance of Pentheus begins with a gentle tone. He dictates any disobedience [provocative sexual activities] will not be tolerated, which is then contrasted with his eagerness to step into the unknown. His confident firm stance & immaculate suit resonates with contemporary politicians and their dismay. Playing the part of Agave is when you come to realise Carvel’s potential, during which he upstages Whishaw. Not having seen Matilda, his experiences have either formed his emulation or instead he has excelled. Whishaw engages with the audience yet the disbelief aspect of Greek tragedy is missing, which leaves you thinking any actor could be playing the part. Kevin Harvey is strong in his support role, and is skilled in playing several roles during one show.
The modernity of the production relates to contemporary audiences with the diverse cast of women in the chorus. Carrie Crackell’s chorus in Medea at the National Theatre were outstanding and with Bakkhai, Musical Director Lindy Tennent-Brown has done exceptionally well with Carson’s adaptation.
They do glorious justice to Orlando Gough’s a capella music – ravishing beauty splintering into eerie dissonances and percussive animal yelps – Paul Taylor – The Independent
Overall the design, music and Carvel make this an acceptable viewing of James MacDonald’s take on this tale of mythology.
The Audience Experience 