Clytemnestra - Theatre Review

Fri 20 Apr

Sherman Cymru

★★★★☆

Clytemnestra, an ancient Greek legend adapted for stage, is Sherman Cymru’s first major English language play since re-opening in February. Written by Gwyneth Lewis – former Welsh National Poet – Clytemnestra is her first stage play.

“When we’ve killed all the animals, men will be next”. Transported 200 years into the future, food is scarce and the human condition is stretched to its limit as families are forced to make sacrifices and wage war to survive. Agamemnon is no different: father and clan leader he has ventured out to barter for supplies, acting in the wider interest he exchanges younger daughter Iphigenia for trade routes. Only, his plan back fires as she is raped and killed and in her grief Clytemnestra goes mad, killing Agamemnon on his return.

Told from Clytemnestra’s point of view, the audience watch as she loses sight of reason and succumbs to the whispering torment of a Fury, hell bent on havoc and revenge. The Furies are an ancient race of God’s/Godessess adapted by Gwyneth into vengeful spirits, and they act as a perfect tool in Clytemnestra’s madness: wraiths within the main character’s shadows, they are the basest and most primitive part of the human psyche, demanding an eye of any eye. Played by Nia Gwynne and Adam Redmore, they are a constant presence on stage, adding an intense physicality to the play with their blend of graceful choreography and dark threats. Played brilliantly by Gwynne and Redmore, their creepy, contorted voices embody revenge.

Jaye Griffiths is powerful in her performance as Clytemnestra, pouring pure agony into her cries of grief and delivering her Fury led madness with conviction. As the voice of reason and family loyalty Rhian Blythe’s Electra is worried for her mother and easily fits to her moment of command. The chorus of abattoir workers provide light comic relief and normality against the outpouring of grief and calculated revenge. “Who’d be a leader? Better far to be a pleb”.

With terrifying brilliance, the soundtrack hits you full on a constant wall of wailing grief and post-apocalyptic percussion, putting the audience firmly in the world of the characters. The set is a simple but powerful statement of blood stained, stark white tiles and tall steel structures – the backdrop of a slaughterhouse.

Stripped down to its essential, the plot is simplistic and very easy to follow, the language ordinary and direct.  Yet for the minimalist approach the narrative seems to glance over some sections, barely giving the audience enough to bite into: Clytemnestra meeting Aegisthus is a very physical scene but the dialogue is sparse. What are Agamemnon and Cassandra? Are they lovers or victor and victim?

If you are expecting poetics on a grand scale, this may not be for you, as the poetic rhythm exists as an undercurrent that softens the ordinary language rather than build on it – to hear it you do have to listen carefully.

If you enjoy the Greek tragedy with a twist and the dark, eerie setting of a post-apocalyptic world then I couldn’t recommend it more. A terrifyingly beautiful play it serves up a healthy dose of the mad and macabre.

Clytemnestra continues at Sherman Cymru until Sat 5 May. Tickets are £15-£25. Info: 029 2064 6900 / www.shermancymru.co.uk