The Bristol Old Vic Theatre School’s graduating students tackle a swirling, modern take on a Greek tragedy with Moira Buffini’s Welcome to Thebes, which premiered at the National Theatre in 2010. The themes are perfect for our time, dealing with the purity of democracy in a world of ambiguity as politicians and victims of a Civil War come to terms with what peace and reconciliation mean when combined with ongoing power struggles and the basic need to feed the people.
On a stage dominated by a broken marble slab surrounded by scattered dirty grit the talents of the 18 actors are showcased with plenty of opportunity for each to take their place in the spotlight under director Lucy Pitman-Wallace’s assured handling.
Thebes has emerged from a brutal war under a new leader, Eurydice, with a definite feminist agenda. Emma Prendergast excels as a strong, but naïve leader unused to the realpolitik she needs to engage in to secure financial assistance from the Athenians.
Alexander Mushore as the Athenian first citizen Theseus captures the patronising and powerful force implicit in his office. Scenes between the two crackle with energy as each refuses to bend to the will of the other, and the testy mature chemistry is perfectly captured by the two young actors.
The search for reconciliation is at odds with Eurydice’s still burning desire for revenge which is brought into focus with her refusal to allow the former dictator’s body to be buried, prompting further conflict and undermining her otherwise confident call that peace has come to Thebes.
Plotting by a wonderfully devious Marco Young as Prince Tydeus and the former dictator’s widow Pargeia, played with intelligence and guile by Lucia Young complicate matters while ex-militia still prowl the streets. Beau Holland and Felix Garcia Guyer impress as the mentally scarred and battle hardened fighters.
Wonderful support is provided by Pedro Leandro as the sometimes fey aide to Theseus, Phaeax. The contrast between his excellent Scarecrow in the company’s Christmas Wizard of Oz show reveals impressive versatility and promises a great future.
The whole company work superbly together as the action and pace builds, particularly around the tense standoff during the summit meeting; when the Athenians’ helicopters take off there are some wonderful immersive moments.
Hannah Livingstone’s down to earth Aglaea tells it as it is and her standout moments capture attention. She moves with real authority and when she talks, her fellow cabinet members can’t help but to take notice.
The tenderest moments of all are provided by the slightly other worldly charms captured by James Bradwell as the blinded Haemon whose quest for love for Bonnie Badoo’s damaged Antigone is at one time delivered to the wrong girl when he mistakes Anna Munden’s frail Ismene for his true love, much to the latter’s disgust.
This is a powerful and mature story brought to life by a talented cast whose work deserves to be seen professionally in the future. ★★★★☆ Bryan Mason 23rd June 2018
