The Bacchae

Writer/Director Rob Reed has inspiringly woven a rich tapestry around themes of revolt, rebellion and war that Euripides’s The Bacchae speaks of.  One can only sit back and enjoy this lengthy but swiftly flowing work.  At the same time it is impossible not to marvel and wonder at the enormous amount of targeted research required to create such a beguiling and masterfully thought-provoking piece of theatre.

All the linkages, that I could grasp, made perfect sense.  Those I couldn’t grasp I was happy to believe were making perfect sense.

It is a good idea if at all possible to read The Bacchae before attending.  However even without this background knowledge you will be swept along by the relentlessly entertaining performances.

A gender blind cast of women works in stunning relaxed unison to tell the stories of social upheavals particularly those in the living memory of the 1960s and 70s.  This includes some really fascinating imagined reenactment of ‘theatre maverick’ Richard Schechner’s rehearsal of a work called Dionysus in 69, considerable probing into the charismatic power of Charles Manson and ‘The Family’ and a revisiting of the Kent State Shooting.  And most poignantly the Viet Cong’s often very cunning and crafty insurgence during the Vietnam War.

‘Theatre Blacks’ with individual embellishment are worn.  This also harks back to the era of the 60s and 70s, as does most of the music – ballads of the era by the likes of Bob Dylan and Joni Mitchell are gratifyingly rendered by a large number of superbly pitched voices from the ensemble under the direction of Kelly Wilson. 

Involved are a number of glowing hero cast including Yoni Prior, Melanie Beddie and Peita Collard, all bringing a lovely tone of composure and clarity to the work.

Eleanor Howlett portrays a strong and implacable Pentheus with lovely focused energy.

Freya Paget brings her own special beguiling qualities to a fascinating character - Thyssa.

Kerith Manderson-Galvin channels a refined directorial energy in her very fine and engaged interpretation of Richard Schechner.

Consummate actor Felicity Steele conveys Charcot’s terrifying treatment of hysteria in women with lashings of wit and irony.  A coup in casting - Steele is physically beautifully suited to the part and creates a credible masculine persona.

One of the many magic moments is a small scene that features Sharon Kershaw as oracle Pythia.

Carissa Lee is riveting as Charlie. 

All performers shine.  It truly is an ensemble - this group has worked together for months - week in and week out.  Such a rare treat now- days, to see work that has been given the breathing space to flourish in the rehearsal room prior to being presented to an audience.

A must see.

Suzanne Sandow

Credits

Robert Reid – Director

Kelly Wilson – Assistant Director, Musical Director and Performer

Sarah Macky -  Assistant Director and Movement Director

Georgia Kate Bell – Producer

Monique Cheng – Stage Manager

Caitie Murphy – Stage Manager and Lighting Operator

Isabella Preston – Assistant Stage manager

Logan Trask – Assistant Producer

Georgie Wolfe – Lighting Technician

Matt Wanford – Lighting Assistant

Jason Lehane – Set Designer and Technical Manager of MUST

Yvonne Virsik – Artistic Director of MUST

Julia Kaddatz – Promotional Photographer and Graphic Designer

Pranjali Sehgal – Filmographer

Aleksandr Corke – Rehearsal Photographer