Welcome, Bacchae

By Timothy Faust     10/23/08 7:00pm

Featuring its horde of frenzied women, cross-dressing and a gruesome act of infanticide, Euripides's The Bacchae is a bizarre standout in the broad realm of Greek tragedy, but a perfectly-timed spectacle for NOD- or Halloween-crazed Rice students. While the Baker College production is entertaining and strives admirably to do justice to the classic text, it is hindered by several technical and performance issues and does not quite succeed in its pursuit of instilling in the audience the ferocious ecstasy presented by its Maenad women and suggested by its advertising, which alludes misleadingly to glam rock outfits and David Bowie.The Bacchae tells the story of Dionysus (Baker sophomore Jeremiah Bolinsky) as he punishes his half-cousin, cynical young Theban ruler Pentheus (Baker sophomore Tomas Lafferriere) for refusing to recognize the former's divinity. Dionysus sets the stage for his plan as the show opens: He has possessed all of the Theban women, driven them into orgiastic madness and sent them into the wild. In taking on one of Euripedes's final works, directors Cat Coombes and Guy Weissinger, Baker College seniors, have chosen a work of dizzying complexity that challenged ancient Greek societal ideas and continues to be relevant today.

In accordance with the manner of the Greeks, The Bacchae set has no set pieces, backdrops or special effects. Rather, the design is typical Rice college-theater minimalism with a twist: The stage is divided into two opposing sets of blocks and platforms, one on either wall of the Baker commons, and flanked by audience seating on both sides. This arena theater arrangement, while interesting, can distract from the overall presentation. Actors are faced with two options: turn their backs to half of the audience, or face the opposing platform and speak toward nothingness. Often, the blocking only further complicates the issue - several characters, while facing a seated Pentheus, deliver lengthy monologues with their backs turned away from anyone who would want to hear them.

Time is a funny thing in all of Euripides's plays: A few seconds of performance time between entrances or exits can take the characters very far from where they started in time, space or both. This performance of The Bacchae does not regularly aid its audience in figuring out where and when each scene takes place. Almost every scene uses the same neutral lighting and, except for intermission, there are no blackouts. As one or two dramatic scenes demonstrate, Coombes and Weissinger are not afraid to drench the set in dazzling flashes of light. With such tools at the show's disposal, why not use this lighting to help convey location, time or theme?

---

---

While the show does not use a lot of pizzazz in its set or lights, its costuming and makeup are top-notch. The visuals of the performance, rich in browns and golds, are reminiscent of autumn's change of seasons; since Dionysus is associated with agriculture and wine, this choice is entirely appropriate, especially when contrasted with Pentheus's much stricter black and gray costume. With bird's-nest hairstyles and disheveled faces, The Bacchae are haunting, and their heavy eye makeup transforms them into convincing cultists.

The cast of The Bacchae, while generally very talented, is a mixed bag of more experienced and less experienced actors of varying skill levels. They tackle an extremely difficult script with passion and gusto, though at times the play feels more like an emotional recitation of Euripides's words than a performance.

Bolinsky, as fitful Dionysus, can be a terrifying sight to behold. His enunciation and projection convey very well the fury of nature the character represents, though his relentless rage might be well-served by a sharper contrast with Dionysus' sly wit.

As Pentheus, Lafferriere performs best when he interacts directly with Bolinsky. At times his struggle to sustain his character through longwinded speeches is evident. All is forgiven, however, with his entirely delightful romp as Pentheus in women's clothing - Lafferriere might seriously want to consider doing the Q&A spring drag show. Brown sophomore Keisha Harrison, in her role of Coryphaeus - one of The Bacchae - displays a fascinating, slithering physicality that chillingly expresses her possession without overstaying its welcome.

The greatest accolades, however, must go to Bryce Eakin (Brown '08), who plays Pentheus's grandfather, Cadmus. His performance as a withered old man conveys a pathetic and entirely human majesty that holds fast the audience to his every word, especially when the character mourns most. Eakin takes his time with his lines, but the space he gives his delivery prompts an emotional resonance needed in the play's tragic final scene.

The Bacchae is not a perfect rollercoaster ride into glamour and madness, but it is not necessarily trying to be. Baker has done all that college theater should do: use the resources it has to put on an entertaining performance from which an audience can leave satisfied and maybe even a little bit enriched. And with a ticket price of only $3 for Rice students, it is well worth the opportunity.

---