Troy

“Troy didn’t fall. It was taken.” This is a point which is particularly reiterated in this production which takes inspiration from the legend of Troy. While the play retains its historical context, it is transformed into a contemporary reflection on notions of ownership, greed, and the desperate desire to overpower one’s enemies both physically and psychologically. 

The performance is grand and powerful from beginning to end and incorporates some incredible and awesome visuals. The set and costume design (Dann Barber) allude to the geographical and historical context of the myth and many of the iconic characters are portrayed as part of the performance. The striking nature of the set and costume design gives the performance a mesmerising quality. The aesthetics are very precise and draw attention to the imposing nature of the different figures that are central to this story. When they appear on stage, they often convey a regal aura, and this is mixed in with some very modern gestures and expressions which makes them very relatable. Above all, the relevance to contemporary conflicts and the absolute obsession with territorial claims allows the play to resonate with the audience. 

Each member of the ensemble cast provides a strong and vibrant performance that exudes all the fervour and dignity of the characters. The delivery is always decisive and emotive, and this helps to make the show gripping. On stage the performers often seem as though they are a part of the set and the poetics of the movement and gestures often make them appear as though they are gliding through the space.

The ensemble takes on different roles and, rather than telling a story, they primarily convey their emotions and their responses to often unspeakable events. This production provides the performers with an opportunity to employ a very different stage presence and performance style; Ciline Ajobong (Iphigenia, Polyxena & Others), Paula Arundell (Hecuba & Others), Danny Ball (Achilles, Apollo, & Others), Elizabeth Blackmore (Cassandra & Others), Geraldine Hakewill (Clytemnestra, Theano & Others), Lyndon Watts (Patroclus, Helen & Others), and Mark Leonard Winter (Agamemnon, Hector & Others) all contribute to creating the haunting and eerie place that is especially created for this show.

The show stopping moment in the play is when the stage alludes to the war strategy of the Trojan horse but in ways that are totally novel and unexpected. The set often explodes with such moments and makes the overall design truly impressive. The lighting (Paul Jackson) and sound (Marco Cher) design combined with the original music (Rosalind Hall) also help to accentuate the very original and other-worldly nature of this production. 

This is a production that will sweep you away and take you on the very visceral journey that is imbued in the myth of Troy. 

Patricia Di Risio 

Photographer: Pia Johnson