The American Hellenic Foundation of Western Pennsylvania is a non-profit 501(c)3 entity
1627 Williamsburg Circle, Pittsburgh, PA 15241-2968


A REVIEW OF THE BACCHAE PERFORMANCE IN PITTSBURGH


Whatever else is written about Marika Thomadakis' adaptation of Euripides' THE BACCHAE
and its interpretation by the Leonidas Loizides Theatrical Ensemble, it certainly comes as a
timely awakening to a culture that has often been lulled, over the centuries into thinking of the great dramas of ancient Greece as dusty pieces of literature, performed with an air of predictable reverence.

No other play, ancient or modern, offers so terrifying a warning against relying on mind, reason or a perception of what is order in a world that can never fully contain or suppress emotion, unreason, relativity and uncertainty. If Greek tragedy leads to thoughts of musty classrooms, the performance in Pittsburgh was one that dissipated the dust and cobwebs away.

In this extraordinary play, first performed posthumously in 405 B.C. as an exhausted, war-weary Athenian civilisation stared defeat in the face, Euripides achieved an unforgettable mixture of comedy and tragedy. In the powerful confrontation between Dionysos, and the Theban prince Pentheas, it's possible to sense a whole rich vein of resonance for our own political culture, torn as it is between a growing binge-culture of uncontrolled excess on one hand and, on the other, a new authoritarian obsession with law and order, and the suppression of what the establishment considers "foreign".
The script is bold, the overall concept world-class and the acting spectacular. The Leonidas
Loizides Ensemble rightfully deserves all the accolades it has received for this as well as its past productions. Indeed, if the Pittsburgh performance was any indication of what is to follow from this Ensemble, we are confident that ancient Greek drama will find a renaissance wherever the Ensemble performs.
The extraordinary confrontation between wretched Agabe and her father Cadmos, as she cradles the head of the son she tore limb from limb was so good, we could have watched that scene a thousand times and experience profound emotion every time. Among the chants, song, chorus and dialogue, Loizides and the Ensemble offer a mix of sheer theatrical cheek and edgily provocative seriousness. Their performance highlights Euripides' masterpiece as the actresses flirt with, and flit between, raw bitchiness to unadultarated venom.

We look forward to the Ensemble's new projects and undertakings and we share their enthusiasm
and confidence that Greek drama did not die but lives in the events we are witnessing worldwide.
Perhaps our society needs a return to ancient Epidavros to reflect on where it has been, what the past has taught, what the present offers and where our choices can lead us. A reflection on whether we remain exclusionary and protectionist or a choice to mature and to accept others for what they are-humans.


The American Hellenic Foundation of Western PA
www.pahellenicfoundation.org