Theater Review: 'The Bacchae'

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NEW YORK—Mortals who deny the will of the gods are doomed to destruction—a fact powerfully pointed out in Euripides’s tragedy "The Bacchae." Nicely translated by Nicholas Rudall for the current Shakespeare in the Park production, the play graphically explores the weaknesses of man, and the price demanded by those who would be worshiped.

The city of Thebes in ancient Greece has provoked the wrath of the god Dionysus (Jonathan Groff), the son of the immortal Zeus and human woman Semele. The god of the vine, also known as Bacchus, Dionysus has introduced the world to wine, a valued gift for "when the wine flows and man has had his fill, mortal cares vanish," as the blind prophet Teiresias (André De Shields) notes.

Not all are as enamored of Dionysus as Teiresias seems to be. Semele's sisters Agave (Joan MacIntosh), Autonoe, and Ino are among those who have denied Dionysus. In response, he has driven them mad, along with many of the other women of Thebes. He has sent them from their homes into the mountains near the city where, now known as the Bacchants, they live as wild creatures, singing his praises and engaging in various secret rituals away from the eyes of man.

Dionysus also faces opposition from his mortal cousin Pentheus (Anthony Mackie), King of Thebes, son of Agave, and grandson of Cadmus (George Bartenieff). Pentheus sees Dionysus as little more than a charismatic charlatan. He is seemingly oblivious to the miracles Dionysus (in the guise of a mortal stranger) appears to perform. Though the king may refuse to worship Dionysus in order to hold on to his own power (as Cadmus apparently once did, to his sorrow), Pentheus becomes tempted when Dionysus appeals to his baser instincts, and a trap is set from which only one will triumph.

What is happening is not as important as why it is happening, though. On one level, this is a story about science versus faith, with Pentheus pooh-poohing the actions of Cadmus and Teiresias, both of whom dress in deerskins (and indeed look quite ridiculous) as they proclaim their love of Dionysus. The show contains a warning about the dangers of following any person or prophet whose personable aura blinds people to the truth.

But most of all, the show is about man's inability to control his own environment. All one can do is anticipate the various changes that are coming and adapt as best as he or she can. This theme is an acknowledgment of the Peloponnesian War, which had devastated Greece during Euripides's time.

An interesting aspect of the play is its construction. Dionysus appears at the outset and then disappears for over 30 minutes. Indeed, many of the characters appear only once in the play, with the majority of the story told by the Chorus (consisting of 12 women) through verse, dance, and movement. (According to the script notes, the play was originally envisioned this way and is probably one reason why it is not done often now.)

Casting is quite good. Groff, with his boyish looks and devil-may-care attitude, makes a perfect Dionysus. He appears fun-loving and regal, yet at the same time, is violent and cruel when crossed. The text also nicely mixes humor with an undercurrent of danger in the verbal duels between Dionysus and Pentheus. Here the disguised god bedevils the king with answers that seemingly have no meaning and an uncaring attitude that drives Pentheus to distraction.

Mackie makes a fine Pentheus, a ruler who jealously holds on to his kingdom. Yet for all his bluster, he is just as weak as any other man. In a testament to Mackie's acting ability, he plays a pivotal scene, one that requires him to don women's clothes, perfectly straight, and is so in keeping with the moment, that the character's actions are perfectly believable.

Bartenieff is good as Cadmus, a once strong man, now desperately trying to be on the politically "safe" side of things. Elsewhere, MacIntosh gives a fine performance as the bewitched Agave, brilliantly switching from being happily oblivious to the consequences of her actions while under Dionysus's enchantment (actions which include murder), to having her very spirit shattered when the truth is revealed. De Shields appears in a funny sequence with some serious overtones—apt in a rather small comic role.

JoAnne Akalaitis's direction is strong, keeping the play nicely fluid as the action unfolds. A high point here are the exchanges between Groff and Mackie, with the director allowing Groff free reign to have fun with the role, while keeping Mackie constricted enough so that his character can often do little but rail at his own impotence. David Neumann's choreography is quite enjoyable, with the original music by Philip Glass wonderfully bringing out the emotions behind the story and dance.

Scene design by John Conklin is interesting. Costumes by Kaye Voyce are okay (the outfits for the Chorus are lovely). The creative team apparently went for a sort of timelessness effect rather than any one period.

While the descriptions of events depicted can be rather graphic, most all of the action happens offstage. Yet there is more than enough intensity in the production to make it quite engrossing.

Also in the cast are: Sullivan Corey, Steven Rishard, Rocco Sisto, Karen Kandel, April Armstrong, Marisa Echeverría, Tara Hugo, Jennifer Ikeda, Jennifer Nikki Kidwell, Alexa Kryzaniwsky, Vella Lovell, Nana Mensah, Ereni Sevasti, Elena Shaddow, and Han Tang.

The Bacchae
Shakespeare in the Park
81st Street and Central Park West
Tickets: Free
Information: www.publictheater.org
Running Time: 1 hour, 40 minutes
Closes: Aug. 30


Judd Hollander is the New York correspondent for the London publication The Stage.