Review of the Bacchantka production at the Estates Theatre

Even from high school, many remember that the word tragedy is supposed to be a combination of the Greek words tragos (goat) and óide (singing). During the wild celebrations of the god Dionysus, the actors wore goat skins and reached extremely ecstatic states during dancing and singing. It is therefore not surprising that the production team decided to treat the late antique drama as a musical. And the musical is very opulent. Whether it’s colorful scenography, extravagant costumes, or the pop music of the band Bert and Friends.

The already set stage seemed to beckon the audience to Dionysian revelries. The scene is rendered in a greenish color with shiny details on the individual steps. Spring shades are also used on long curtains. The monochromatic mise-en-scène is complemented by costumes with varied materials, multicolored leatherette coats or iridescent dresses interspersed with silver sequins. Both in the scenography playing with the aesthetics of studio video clips from the 60s, and in the pink outfits of the female choir, a subtle retro touch can be observed.

A reference to the tradition of popular music from the end of the last century can also be heard in the popular band Bert and Friends, which musically accompanies the entire production. The quartet, headed by the inscrutable person of Alberto Romanutti, seemed to precede the stage performance not only with its cryptic lyrics, but also with its playful synthesizer music. The author of the music, Jakub Kudláč, strikes a good balance between the characteristic performance of the band, the musical pomp and the tragedy of the original.

The tragedy, which has been preserved from the late work of Euripides, returns to the traditional bacchanalian myth, which in the classical interpretation is connected with the very beginnings of the genre. Bacchantes tells the story of King Pentheus (Miloslav König), who replaced his grandfather Kadmos (David Prachař) on the throne. Miloslav König appears as a young, purposeful, but soft-hearted monarch who wants to strengthen order and peace in his empire. However, the god Dionysos (Petr Vančura) visits his territory, who drives the women “off the boats and rafts” and takes the old man with him. In an attempt to prevent social disruption, Pentheus forbids the worship of Zeus’ son and has him and his entire entourage captured.

Petr Vančura in the role of an idol wears only briefs and a blouse with frills. His oiled thighs glisten in the spotlight. The very striking costume contrasts with the quiet voice (the director often uses microports or microphones) and hidden grimaces. He bets more on his natural expression and only occasionally grins playfully. During the interrogation, Penthea teases, sneers at him and speaks in riddles.

The textbook interpretation of Bacchantes speaks of an irreconcilable struggle between two principles: instincts and reason. However, this relationship can be better understood as a constant struggle aimed at maintaining mutual tension. Order disappears under both the anarchy of pleasure and the dictatorship of reason.

The new staging offers an updated, and perhaps even more interesting reading. In the drama, Pentheus is punished for refusing to honor divine tradition. The dramaturgy under the direction of Nina Jacques follows the plot line, but interpretively shifts the character of the king. The young ruler, in contrast to the other protagonists, does not manage to control his emotions. For example, during the mentioned conversation with Dionysus, he is impatient and easily bursts into anger. It is only when the captive forces him to disguise himself as a woman that Pentheus is happy in his last moments before his tragic death. One cannot avoid reading it through the prism of the current debate about the crisis of masculinity, which is manifested, among other things, by emotional flattening.

The production also plays with feminism. Vančura’s Dionysos spends most of the performance next to intoxicated women. According to messenger reports, they care for each other and their affection attracts even forest animals. Compared to the original, in which the bacchanals kill cattle and terrorize local residents after their liberation, the production suppresses their violent nature. Women who have left the household and thereby freed themselves from family shackles, experience moments filled with happiness together. Even the scene in which Agaué (Jana Pidrmanová) realizes that she has murdered her son is presented with a large dose of irony.

In a number of his productions, the director Jan Frič addressed themes related to rationality. In a documentary style Burnout or Vyhoř! invited actors shared their experience with the reworking and the “stage poem” performed in the fall There is no need to do anything at all in turn, she tried to convey to the audience the relief that comes with disconnecting from the constant interpretation of the surrounding world. A similarly delightful feeling, when the viewer enjoys the artistic and dramaturgical processing, is also offered by the production Bacchantes.