The Trojan Women

This year Dionysus Theatre looks back at an Ancient Greek tragedy - The Trojan Women – set against a backdrop of the Golden Age of Hollywood. Written by Euripides in 415 BC, director Emma Sproule has used a new translation by Emily Wilson, but has forged a new connotation on the tragedy through the lens of the Harvey Weinstein case.

The staging was like a film sound stage, painted backdrop of the ruins of Troy like you would have found in an early silent film. I found it intriguing that a flow spot was so heavily utilised when the rest of the lighting was a dark blue. But I worked out that because of the cleverly designed lighting plot, what was shown in the spotlight was 'on film' and when the actors were in the blue light, they were ‘off camera’. When I realised what exactly was happening, it was fascinating to watch the secondary tales that were being created from the setting and the stories from the Me Too andTimes Upcampaigns. The strength in these moments didn't detract from the main actors, yet it heightened the staging and made you feel even more connected to the plight of these women.

Emma Fawcett portrays Hecube with the grace, restraint and pride of the queen of Troy. Fawcett's performance was flawless and heartbreaking. She was on stage for the entire performance; she hardly gets a break from the devastation that her character lives through. I have never seen a play with a more powerful ending pose by the lead character.

The trio of chorus women - Roisin O'Neill, Madeline Rintoul, and Hannah Rule - are captivating, their singing voices perfectly in tune with one another, harmonise beautifully. Full kudos to Sheridan Killingback for writing the lyrics and composing the original soundtrack for the show.

Emma Rogers (Helen), Tahlia Summers (Cassandra) and Katie Tompkins (Andromache), and her adorable son Antyanax, played by Dante Ferra, were also fantastic during their scenes, embodying their characters completely.

The costume/hair/makeup team should be highly congratulated for their extraordinary effort in recreating an authentic look. All of the women's dresses, stunning 1930s era styling evening dresses, looked like they had been made for the actors. Men in three piece suits topped off the look perfectly.

The Trojan Women begs the question, how many women in Hollywood, over the many years of big picture houses, have been assaulted and not spoken out. It is all too prevalent at the moment and deserves a spotlight put on the injustices to females in the workplace, no matter where you are in the world. Well done to Emma Sproule and her fearless team on and off stage for tackling such a prevalent topic with care and poignancy.

Penelope Thomas