We have been asked whether we would recommend a visit to the 2016 Greek Play, on the basis of the Wednesday evening performance–after all, Edith Hall did tweet 2016 King’s College London Greek play better than ever.
I think it would be worth seeing as a reasonably typical example of the KCL Greek Play, illustrating the difficulties one faces in staging such a thing and the way one might go about solving them. One of these issues is that one does not have actors experienced in voice projection and dominating the stage. So having them follow what I think was ancient performance practice by miming what the were talking about was a good idea, while having Alkestis deliver many of her lines at the stage rather than the audience was not.
It’s worthwhile noting that, in contrast to the Alkestis-derived Cocktail Party I recently saw in Notting Hill, none of the actors fluffed their lines–advanced electronic prompting may have been employed to this end. But there was systematic underplaying, especially from Heracles, who may perhaps have been reading his lines from the label on his bottle of wine.
The dance passages were the most effective and some of the choreography was very good. I’m not sure that the director ever came to a clear idea about what she was trying to do–the programme made great play of a contemporary setting, which in the event appeared only in the form of cocktail glasses and a wind-up gramophone–and she hadn’t established control over time, so that some important passages (such as Herakles asking who had died or indeed Admetos finding out who Heracles had brought to him) passed by quickly and some more routine passages didn’t.
It looked like the choral odes had been solved at the last moment by getting one person to read them via a recording over a musical backing, which may have been somewhat of a last-minute expedient.
We had certain technical problems on the night. The scene changes lasted a long time, which may have been deliberate but if so that still wasn’t a good idea. There were also problems with the lighting cues, and especially with the surtitles, which were often a line or more early or late and ceased entirely towards the end, leaving the audience rather puzzled as to what if anything had happened to conclude the piece.
There was indeed a facility to buy tickets at the door, to answer another question…