This modern spin on the ancient Greek tragedy is diverse of casting, demotic of speech and decidedly female-slanted and while it pulses with a febrile energy, it unhelpfully turns its protagonists into something of a shouty rabble.
Sexually liberal and fearsomely straight talking, they travel the globe to right the wrongs of patriarchal regimes and have now landed in Thebes, whose autocratic leader Pentheus (James McArdle) has labelled them a “terrorist organisation”.
Sexually liberal and formidably straight talking, the chorus take centre stage (Photo: Marc Brenner) square ARTS I wanted to like The Land of the Living more than I did
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The first image we see on the National’s most imposing stage, the Olivier, is a huge puppet head of a white horse, suspended high and dripping with blood. There’s fake news to start: Pentheus’s mother Agave (Sharon Small) is dead. Yet she is not; she has instead been bewitched into joining the Bacchae in the mountains and soon enough she is gnawing at raw meat, her jaws bloodstained, and carrying a dismembered arm about with her.
Kate Prince’s stomping choreography adds a stirring momentum to proceedings, even though it becomes increasingly hard to fathom what all this actually amounts to. The surfeit of sexually provocative language also begins to feel wearisome. The ending is not something that Euripides would have recognised and the evening culminates with a literal statement of intent from the chorus of women about the National’s welcoming of everyone.
To 1 November (020 3989 5455, www.nationaltheatre.org.uk)
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