A mesmerising and powerful modern commentary wrapped up in a Greek tragedy
Is the theatre pretentious, inaccessible and slightly stuffy? Most certainly! That’s why brave, new and risqué plays are needed, plays like Nima Taleghani’s Bacchae, writes Aneela Aslam.
A mesmerising, witty and powerful modern commentary wrapped up into a Greek tragedy, is exactly what Indhu Rubasingham dreamed of for her debut as the new arts director of The National Theatre.
Clarie Perkins’ powerful performance as Vida commands the stage like no other, and she is supported by the standout ensemble of Bacchae all bouncing off of each other. Ukweli Roach as Dionysus is in a league of his own, mischievous and full of charisma as he hypnotises the audience with his charms.
It is this combination of powerful performances and a daring script that makes this retelling both controversial and brilliant.
The traditional National Theatre patriot might find the offensive cusses, slang words, countless innuendos and modern references to be poorly placed. However, the language is artful, striking and humours. Taleghani’s language choices transform the audience into his own interpretation of Thebes; one many of us Londoners can relate to.
Some spectators might struggle with the slang, but it is rightfully put that the quick witted, spoken-word slang of the characters is not a “sub-culture” but “artisan”.
It is this easily digestible language, that makes Taelghani’s brave take on Euripides’ seminal work come to life with meaning in 2025. The play pokes fun at and questions the discourse plaguing our politics. It is not a manifesto, but a forum to question and examine how we identify who we are and what we believe in.
The funny, self-aware nature of the dialogue is a testament to the brilliance of the playwright, with jokes about diversity-funding and the expectation for Dionysus to assimilate like a “good little immigrant”. It is through these unserious jokes and playfulness that the play can approach and probe current political tensions and language.
But the play keeps true to the original play, with political factionalism within the Bacchae contributing to Queen Agave’s (Sharon Small) descent into madness as she eventually rips off her son’s head.
Agave is a key anchor in maintaining a gritty and eerie tone, her blood-soaked appearance lingering throughout to remind us of the true Grecian tragedy.
The technical elements of the play add another level of artistry. The stage rotating from mountain top to palace is a fun use of space that allows for both powerful moments and ensemble chaos to play out. The magnificently placed lighting, however, is the standout technical element, with each lighting choice perfected to bring the play to life. The combination of DJ Wade’s striking score and the dramatic choreography bring the action alive.
The costume design leaves something to be desired, and the political themes become blurred with surface level discussion of masculinity being referred to as softness. but Bacchae is new and exciting and shouldn’t be missed.
I leave you with the central question of the play “Who are ya? Who are ya…Bacchae or Bystander?”
Olivier Theatre until November 1st.
Booking and full details: https://www.nationaltheatre.org.uk/productions/bacchae/
