I must confess much of my basic knowledge of Ancient Greece was gleaned from school texts like “Tales of Greek Heroes” by Roger Lancelot Green. It was a popular read in the 1950’s during which I became a devoted fan of the ABC’s “Argonauts Club” which I devoured with my ear against the bakelite radio on a cupboard top in our family kitchen. A delightful memory from that glorious era BT (Before Television!) Together with an attentive and fully immersed audience at Independent Theatre’s opening night performance of “Phedre” I was once again transported to an ancient time of Gods, mortals, heroes and events fantastical.

The first encountered and indelible “hero” of this piece is the set designed as always by Rob Croser and David Roach. It was also constructed by Roach along with Chris Gilbert, Mal Corkhill and Bill Fowler. It is a beautifully realised stylized and stylish depiction of a Greek Palace. With twin central columns and angled entrances it proudly possesses a proportion and symmetry fit for a king! It is placed at an angle slightly askew to us and that, together with its rather majestic raked floor seems to emphasize and enhance its perspective. It creates an interesting and harmonious performance space. Upon this edifice is plotted excellent lighting by Luke Bartholomew and controlled by Tim Serekin who also manages  nicely timed sound when and where necessary. The diminution of lights to that of a sole reliance on the rose filtered hue from the elevated twin “cauldrons” coupled with some haunting background music from a Pan flute provided the perfect segue from one scene to the next. On a technical note still I would like to mention, indeed commend, the simple yet lovely costuming by Wardrobe Mistress  Dianne Buratto who also doubles as Stage Manager. The costumes are subtle yet regal and the actors seemingly moved comfortably well within them. The set, lighting, sound and costuming are all on display in perfect balance and harmony. A visual treat for our senses.

As if by decree from the Gods the performances of each of the eight cast members is delivered and coalesces in a fine delicate balance. It is most noteworthy that the Livingston-Pearce family comprises 50% of the cast! Hippolytus, son of Theseus King of Athens is by definite choice a hunter, a sportsman and immerses himself wholly in those pursuits. Callum Logan plays him with necessary youthful vigour coupled with demonstrable surety in both voice and purpose. Of all the cast Logan is always on the move, always mobile across the generous playing space of the King’s courtyard. He has a carefree attitude to life and the things in it familiar to him. Theramenes is his advisor, tutor and mentor. He takes his responsibilities for his nurturing of Hippolytus with heartfelt sincerity and pride. Chris Bleby exudes these qualities in a most convincing and well constructed portrayal. He displays a well balanced ease in his applied stagecraft amounting to a thoughtful and purposeful performance.

From the first conversation between Phedre and her companion/confidante Oenone we learn of the intricately diabolical dilemma that has befallen the Queen of Athens. She has been induced by the Goddess Venus (Aphrodite) with an uncontrollable passion for her stepson Hippolytus. “I am fallen into the furnace and am trapped!”, she cries. Lyn Wilson delved deep within her considerable range of acting skills in order to depict the tortuous situation she finds her character in the clutches of. She neatly sidesteps possible signposts of melodrama with deft skill and honest intent. Her command of script and its unfailing delivery is powerful and on target throughout and the audience responded with obvious appreciation during curtain call. Oenone’s primary concern is the wellbeing of her mistress and, whilst she too finds Phedre’s urges and desires repugnant she quickly changes her attitude upon hearing of the supposed death of Theseus. She takes on the role of go between and, in her agency of manipulating Theseus towards a totally unsuspecting and bemused Hippolytus, she becomes almost Iago like. This was a key, pivotal and powerful role for Naomi Voortman and she fitted it with admirable expertise.

So to the Livingston-Pearce “dynasty”! Mia as Aricia (a princess from a rival royal family) and Sophie her “helper maiden” both delivered excellent performances. They might have easily swapped their individual roles and produced the same first class effect. Both were well aware of their place upon the stage and both injected their character with confidence and assurance. Pippa Livingston presented her role as Panope, Phedre’s Lady in Waiting, with both grace and polite servant like subservience. Stuart Pearce was an impressive Theseus. He strikes a commanding figure and makes the stage his own. I like the way experienced actors seem to move sparingly and make the most of a stationary position, a pause, a gesture, a glance. Pearce was imposing and his emotional range, as with all other cast members, was the hallmark of his performance. “Shall I never get out of the Labyrinth”? He wails in disbelief at the circumstance being unfolded before him and while his desire for vengeance is delivered with white hot anger his final supplication to the God of the Sea is pitiful indeed.  All the dialogue in this impressive production is spoken up and out to us with sharpness and clarity. It was a benchmark met by all performers. This production was a poetic statement visually, in music (small but significant) and in the richness of language. It touched the muse within us all!