In Euripides’ ancient Greek classic, “Iphigenia in Aulis,” Iphigenia is sacrificed by her father Agamemnon in the interests of the state, in hopes of assuring a war victory. She offers herself willingly.
Playwright Gary Owen recognized a modern parallel. Writing in the context of Britain’s austerity program of the 2010s under Prime Minister David Cameron, Owen wonders who sacrifices, and how willingly, in the interests of the state. Is such sacrifice just? Does it fall disproportionately on the poor and struggling? What is it like to be a member of the disposable class? Who are those who pay for the ease enjoyed by the more comfortable?
At a time in America when the despised classes of immigrants, transgender folx, “woke” academia, antifascists et al. are bearing the burden of the state’s policies claimed to favor the more deserving, it is a question worth asking. “Iphigenia in Splott” is definitely a play designed to make us think about the undervalued lives of the excluded.
“Effie” is crass, brassy, in-your-face, and largely unappealing at the start. She lives for drink and one-night stands, and as much fun as she can squeeze out of a tough existence. But she is touched by a one-night stand with a wounded soldier and discovers her own capacity for love. When the soldier turns out to be an indifferent cad, she comes face to face with her own disposability and begins to question if it is deserved or necessary.
In the process, she undergoes riveting emotional transformations, brilliantly conveyed by Alicia Mason in a memorable performance, carefully coached by director Michelle Talgarow. Mason is not afraid to be ugly, so that when the inner beauty of Effie, and her capacity for love and hope, is gradually revealed, the transformation is enlightening. It is a lesson in the potential lovability of the unlovable, designed to make us think about the sacrifices society forces upon the least connected of us all. Effie forces us to look upon those who pay with commanding honesty.
At times, the aggression seems forced and the logic of the plot is difficult to follow. But this production gets right what matters most: Effie is full of life and passion, and she makes us care.
The production values are outstanding. Costume Designer Buffy captures Effie’s character in cloth. The set by Angrette McCloskey is appropriately stifling, with its suggestions of dark, narrow winding alleys and sleazy bars.
Audiences will not leave Splott unmoved.
“Iphigenia in Splott” continues its extended run at Shotgun Players through August 29th.
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Rating: *** (For an explanation of TheatreStorm’s rating system, click here.)
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“Iphigenia in Splott” by Gary Owen. Director: Michelle Talgarow. Sound Designer: James Ard. Scenic & Props Mad Fellow: Alex Camerino. Mad Directing Observer: Atusa Assadi. Lighting Design Mad Fellow: Milisa Coleman. Costume Designer: Buffy. Stage Manager: Enkidu Khan. Scenic & Props Designer: Angrette McCloskey. Intimacy Choreographer: Nicole Limón. Lighting Designer: Christian V. Mejia. Sound Design Mad Fellow: Emma Jiang. Dialect Coach: Emma Stevens-Johnson.
Cast:
Effie: Alicia Mason.
“Iphigenia in Splott” continues its extended run at Shotgun Players through August 29th. For further information, click here.
TheatreStorm 