The great Greek plays and myths continue to serve as an inspiration to art in many forms right up to the present day. The Greeks ensured the appeal of the stories by personalising stories about their gods and the great families of Kings. Jocasta’s Line, a joint production between Norwegian National Opera and Ballet and Dutch National Opera & Ballet is an interesting pairing of two great myths: Oedipus and Antigone. Jocasta, the widow of King Laius, mother, and later wife, of Oedipus and mother of Antigone is the tragic link that binds this most unfortunate of families.
How do you go about delivering a central myth like the tragedy of Oedipus to a modern audience? Igor Stravinsky plunges straight in. The subject matter relates to his neo-classical period but his rhythms and sounds go deeper, bypassing classical and romantic periods to an earlier root thus creating a truly modern and totally original work. The staging is dramatic but austere in its simplicity with Wayne McGregor adding minimal dance to an already potent mix. Dance was an important and respected part of the original Greek staging although we have no idea how they were performed in ancient times. Maybe one day a choreographer will take the plunge and reimagine the period.
For the introduction, the mouth of the narrator, Ben Whishaw, is projected in wide screen, relating the story in direct, unemotional speech. The orchestra and male chorus open in fury, kettled in a pack in blood red light, demanding rescue from the virulent plague. King Oedipus, Paul Appleby is positioned on a podium. He has vanquished the Sphinx but is unable to find the murderer of King Laius. Appleby, in fine voice, dominates the opening, his high position and his visible anger show him a concerned leader and his unravelling as each twist of the story is revealed, is given full weight in movement and voice. The dancers symbolically dismantle his throne-like structure bringing him to earth as his world turns upside down.
Creon, Michael Mofidian, also high on a podium, plays only a small part but figures as the power waiting in the wings. Mezzo-soprano Dame Sarah Connolly cuts a magnificent figure as Jocasta, singing with warmth and clarity. Once she too realises the full depth of the tragedy, she makes a dignified exit to meet her death off stage in the Greek tradition. Bass, Rafal Siwek, his eyes blacked out, is the blind Tiresias, another small but essential role. It is a wonderful score to hear played live generating its primal energy across the auditorium under the energetic direction of Koen Kessels.
Samy Moussa’s Antigone is a very different score. It too has the distinction of being highly original in its orchestration and rhythms but possibly because it was written for a female chorus, the timbre is lighter and brighter. The costumes by Vicki Mortimer are striking in shape and in their black and white print. Effectively used to dress the stage, they gave a distinctive dimension to the set while Lucy Carter's imaginative lighting added dramatic intensity.
The myth of Antigone, the young woman fighting the power of the state for what she believes is right, has never lost its appeal and has found infinite interpretations down the centuries. Moussa’s libretto is for chorus alone and with no named roles the narrative was given little support. However, the opportunities for McGregor’s exciting contemporary dance found expression in a number of duets. Antigone, a heroic performance from Grete Sofie Borud Nybakken was tempered by a gentler presence from Anaïs Touret as Ismene. Creon, a major figure in the drama was played by Ricardo Castellanos, and Melissa Hough, always a quality performer, had a featured dance role. The dead brothers at times returned to life which rather negated the central issue; the importance of the burial rites. The theme of the individual against the state would also have benefitted from more exploration, more than simply an angry duet or two. However, Moussa’s score was well used offering plenty of colour and emotional depth.
Both Oedipus Rex and Antigone are powerful stories that offer lessons. Oedipus has reached his nadir but now without sight he learns to see with his heart and his wanderings finally bring him to a peaceful end. Antigone will hopefully find her place in the Elysian Fields and has inspired countless generations to take up the good fight. The strong passions in Greek dramas, sadly, do not seem so distant in today’s world of monstrous deeds.
Maggie's trip was funded by Norwegian National Opera and Ballet
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