Review: SAPPHO, Southwark Playhouse (Elephant)
Mark Senior
It seems almost a strange thing to have a new Greek play. Theatre was born in Greece eons ago and associations of Greek theatre are as such: the original plays that formed the foundation of the medium we love today. This begs the question, that does the form still hold? Is there a space for Greek theatre within the modern theatrical plane? SAPPHO at Southwark Playhouse (Elephant) proves that there most definitely is.
By it’s own declaration the events take place somewhere between 6th century BC and the realms of imagination. Sappho is a young poet lauded by Socrates and Plato, but she has fallen in love with a woman, just as the society of Lesbos is on the cusp of democracy. Sappho must now decide between conforming to heteronormative ideals of marriage for the advancement of her civilisation, or following her heart and upholding the merit of the words she is so exulted for scribing.
Wendy Beckett has crafted a clever, engaging and relatable play marrying the forms of Greek and modern theatre together to beautiful effect. She has created a modern Greek comedy that forces the audience to question the constraints we have allowed our society to put on love, marriage, gender, sexual freedom, queerness and politics. What she also does is cleverly uses the devices of classical and modern vernacular to display the similarities between the present day and Ancient Greece; encouraging us to question how we have allowed certain attitudes towards the aforementioned themes, as well as the power of class and wealth, to become systemic issues that are still somehow considered grounds for debate to this day. The direction by Beckett and Adam Fitzgerald is thought out and consistent, with intelligent moments of fluidity and stasis, however, certain choices lack a little strength and surity.
Beckett’s writing imbued with the story driven choreography by Fotis Diamantopoulos create a gorgeous production that allow scenes to breathe whilst simultaneously ensuring a sensual and captivating energy is undulating beneath. Diamantopoulos’ understanding of communicating through dance is brilliant showcasing many gorgeous moments of narrative exploration told beautifully, especially by dancers: Aaron Bladen, Kostas Tekkis, Roann Hassani McCloskey and Lucy Mackay.
Emmaneul Akwafo excels in all the Narrator’s gender non-confroming glory. Akwafo works the audience and the chorus alike acting as a conduit between the ancient and modern ages, gorgeously devouring classical language, historical anecdotes and providing a much loved sparkling side-eye. Eleanor Kane as Sappho’s lover Adore dances gorgeously throughout, translating their meaning clearly to the audience. Georgie Fellows is a knock-out in the titular role. Fellows is able to entrance with poetic language one moment and split your sides with wit the next. Her understanding of the form and demonstration of theatrical intellect is to be commended, and with every moment she speaks she cradles the audience in the palm of her hand. A mention must also go to Velile Tshabalala who makes a hilarious, assertive and sensual Aphrodite, her presence on stage always makes a mark.
What SAPPHO does so beautifully is it allows the audience to release their inhibitions and examine an open presentation of sex, sexuality and sensuality. As such it just felt strange to not see that level of comfort or freedom demonstrated in the set design, whilst functional and created well, it just felt a little rigid and hard for such a theme. At 85 minutes, although at times can feel a little longer, SAPPHO is a straight through modern Greek play that fits perfectly into the current theatrical climate. So many productions get overrun by concept nowadays and one of SAPPHO’s greatest strengths is its commitment to honour its theatrical roots.
**** Four Stars
Reviewed by Duncan Burt
For more information, click here
