Helen

This is Euripides without tears, a happy ending snatched from catastrophe, and the funniest Greek tragedy you’re likely to come across.

Helen ran off with Paris to Troy, right? Wrong. Well, wrong according to Euripides’ Helen, which tells a very different version of the famous ancient myth. Helen is in Egypt, spirited away by the goddess Hera, while an airy doppelganger lured the massed forces of Greece to the decade-long slaughter of Troy’s beaches. Pestered by the local king, she waits and watches the coastline and dreams of reunion with her lost husband.

This is the Globe’s first bash at a Greek tragedy, and Helen blossoms impressively in the open air. The set may look like something put together for a school play (tinselly shades of JATATD), but its multiple levels give the players scope to belt frantically about the stage without falling foul of the theatre’s sightlines. Frank McGuinness has produced a text that rambles cheekily between high tragic diction and colloquial bluntness, and Deborah Bruce’s company romp gleefully among its quirky, quicksilver twists and turnings.

Penny Downie’s Helen is a skittishly imperious ageing beauty, who’s been on her own too long to fret about the moral niceties of getting her man back, and getting home pronto. She’s matched by Paul McGann as Menelaus, an incorrigible chancer who’s managed to come through a disastrous war with his considerable charm still intact. And in a production that wears its irreverence on its sleeve, heavenly spokespersons Castor and Pollux (Fergal McElherron and James Lailey) appear like be-winged versions of Paul and Barry Chuckle, cheerfully elucidating semi-divine destinies while grappling with a range of uncooperative props.

This is Euripides without tears, a happy ending snatched from catastrophe, and the funniest Greek tragedy you’re likely to come across. It’s left to a self-mockingly lugubrious chorus, and Ian Redford’s thoughtful servant to hang onto a slender shred of gravitas amid the jollity. Not all wars are fought for the right reasons, they remind us, and good people suffer terribly for bad causes. But such lowering reflections take a back-seat in this irresistibly upbeat reading of a play that celebrates unlikely second chances, and reconciliation against all the odds.

Comments

2 comments. Add your own »

  1. Paul Steeples says:

    I’m afraid I thought it was resistibly upbeat. Penny Downie and Paul McGann were very good, but the Pharoah was pure Carry-On, and the heavenly twins tiresome in the extreme. I thought the translation didn’t really get the tone right either, verring wildly from rhetoric to slang. The Globe has a bit of a reputation for “when in doubt, go for laughs”, which they claim they’re trying to get rid of. On the evidence of this production, they’re not trying all that hard…

  2. Al Johnson says:

    This is the play for after Iraq. The reason for the war is a WMD (woman of mass destruction). The invaders didn’t believe the defenders, who were likely less than forthcoming about having lost their WMD. The war lasted a lot longer than they had planned and it took even longer for the invaders to find their way home, where their reception was mixed, to say the least. The victors continue to refuse to admit that they went to war for an illusion. The Greeks won. It’s their story, and they stuck us with it. Can’t wait to see it produced here in New Macedonia.

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Info and Credits

Helen is at Shakespeare’s Globe until 23 August 2009.

For tickets and further information, visit the Globe Theatre website.

Cover photo © Keith Pattison.

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