We take a look at what is being said about Nima Taleghani’s new version of Euripides’ tragedy, directed by Indhu Rubasingham.
Broadway World: “Tragedy requires sharp focus. Satire requires wit. Taleghani and Rubasingham proffer neither. What remains is noisy brashness straining itself in its attempts to be something it isn’t.”
The Reviews Hub: “Forget Zeus and co, the full might of the National Theatre is certainly on display; there are giant horse heads soaked in blood, sparkly gold outfits, a three-tiered rotating stage and some amazing lighting effects, including a heavenly ascent finale. Yet, the tragedy when it comes feels less poignant amidst the cartoon violence and occasional rhyming couplets. But what an experience for a debut playwright, let’s hope the first of many on the big stages.”
The Guardian: “So, while Rubasingham’s high-risk venture does not pay off as a whole, something new, different and daring has entered this old space, and that is no bad thing.”
The Telegraph: “Indhu Rubasingham launches her inaugural season with a slangy reimagining of Euripides. It’s a radical statement of intent.”
The Standard: “The final minute is an incredible bit of writing where Perkins stands alone on stage and challenges us, and challenges Rubasingham, to work out what a national theatre should be. So how can you not admire this for trying to be everything to everyone? The result is a production that is exactly the sum of its parts, and those parts are many, and some are good, and some are not.”
WhatsOnStage: “Within this vibrant setting, Rubasingham marshals the action with absolute assurance. She’s brilliant at driving things forward, but also at creating tableaux that constantly focus the eye on the important thing. Kate Prince’s choreography sets the Bacchae powerful, propulsive dances, moving to DJ Walde’s score. Yet the production makes space for moments of quiet and intimacy too.”
The Arts Desk: “Rubasingham’s obvious confidence in directing on the Olivier stage add up to a celebration of theatre. Despite the drawbacks there is enough here that augurs well for the next few years.”
All That Dazzles: “Bacchae is a thrilling but uneven adaptation, succeeding magnificently when at its best, but unfortunately becoming quite redundant when not. Still, the creative vision and visual storytelling, including some striking lighting from Oliver Fenwick, are so sharp and well-orchestrated that I look forward to seeing what else is to come of Indhu Rubasingham’s tenure.”
The Upcoming: “Greek tragedy is renowned for its excavation of human (and godly) nature: vices, passions, desires and tenderness. The writing here gives us glimpses of such depth, but doesn’t paint a full picture. A production of The Bacchae can take a bold, risky path – as one might expect. It can either dissect and desecrate the source material through biting satire or reimagine it while preserving its profound humanity. This staging sits somewhere in between, unwilling to commit fully to either direction.”
The Independent: “Nima Taleghani’s debut production sketches this dark, heightened world with wit and invention.”
London Theatre Reviews: “Bacchae is a fun and ambitious production that makes you truly appreciate the National Theatre’s ability to wow. It’s a visual spectacle with sincere and witty moments that show real potential. It’s certainly worth a watch.”
The Stage: “Rocky start to Indhu Rubasingham’s National Theatre reign nonetheless proves she’s committed to bold programming.”
British Theatre Guide: “This production exploits the topical and theatrical potential of this brilliant play, giving the theatregoer a memorable experience.”
Bacchae continues to play at the National Theatre until the 1st November.