Writer: Nima Taleghani
Director: Indhu Rubasingham
Indhu Rubasingham’s tenure at the National Theatre has officially begun with a symbolic gesture that is, arguably, far more significant than anything performed in this inaugural season – writer Nima Taleghani is the first person to ever present a debut play on the Olivier stage, a statement of intent from the new Artistic Director that could well open up the National Theatre to new voices, not just in the Dorfman where they have traditionally been tested, but on the biggest of England’s stages. Bacchae arguably doesn’t live up to that accolade with its messy and issues-laden contemporary approach to Euripides’ Greek drama, but with all the power of the National Theatre’s staging team behind it, it is really meaningful that Taleghani’s play is there at all.
Worshipping God-of-the-people Dionysus, known as ‘Dio,’ the Bacchae are a tough group of international female migrants who spend their time lopping off the heads of dictators and having female-only orgies in between. When evil king Pentheus denies them entry to Thebes, where women are subjugated, his cousin Dio returns to his hometown to bring him down, only family connections get in the way.
Bacchae takes a much more chorus-centric approach to presenting this story and creating individuality among their ranks. No longer a unified collection of voices framing the action, in Taleghani’s play, the Bacchae are the action, led by Clare Perkins’ magnificent MC-like Vida who presents a contrasting vision for female-centric leadership measured against Dio’s more flamboyant personality (a charming Ukweli Roach) and Pentheus (James McArdle), a misogynist man-baby who struts about the Theban palace in a breastplate demanding loyalty. And one of the most successful aspects of the play explores the personalities that form the collective and, by extension, the divisions that emerge within the Bacchae itself as events pull them in contrary directions, exposing their relative frailty as a fighting force.
Yet, the play sets out to tackle too many themes, resulting in some heavy-handed dialogue about the value of immigration, feminist ideologies and, in a late addition, the challenges of kingly masculinity as Pentheus and Dio bond over their mummy issues. Having the Bacchae migrants refused entry to Thebes and treated with suspicion is material enough to fill this 105-minute piece, but the attempt to touch on too many other subjects means this debate is never given the depth it deserves, and conversations become circular and repetitive. Ultimately, the concept gets a bit lost in the family relationships between the Theban royal family – a notable Sharon Small chewing a lot of body parts and the scenery – Dio and Mount Olympus laden with everyone’s fears of rejection.
The tone is very light, full of energy and highly contemporary – meaning everyone gets calls ‘bitch’ a lot. There are times that this really works, particularly when married with Kate Prince’s street-infused choreography, but other times it misfires, including Dio’s big song, the only one in the show, which adds to the messy feel. 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.
Runs until 1 November 2025
