★★ 'Janet McTeer is never less than commanding in Simon Stone's Greek myth retelling, but this divisive play made me long for peace, quiet and some Nurofen'
Janet McTeer is never less than commanding in Simon Stone’s Greek myth retelling, but this divisive play made me long for peace, quiet and some NurofenIn conversations in everyday life, we speak over each other all the time and think nothing of it. If the same thing happens with dialogue on stage or screen, we should think much of it, as it is making a significant statement about the characters involved.
Yet if such overlapping oration should continue for more than two-and-a-half hours, and climax with frenetic simultaneous speech in French and Arabic, we are more than entitled to stop thinking lofty thoughts and instead long for peace, quiet and some Nurofen. – like Robert Icke a member of that rarefied group of theatrical auteurs and acclaimed for his 2016 reworking ofstarring Billie Piper – has taken the classic Greek myth of the married woman who falls disastrously in love with her stepson, and given itPhaedra is now Helen , a sleek MP and member of the Shadow Cabinet, comfortably but not sexily married to diplomat Hugo , with a socially minded grown-up daughter Isolde and an alarmingly articulate teenage son.
Helen and Hugo drink – and crucially talk – way too much, which in the first scene offers an illuminating insight into their milieu but thereafter plays to rapidly diminishing returns. Their dinner guest is Sofiane , the son of Helen’s long ago and late Moroccan lover, Achraf.
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