Deciding to produce Troilus and Cressida by William Shakespeare is a brave move indeed as it is a fragmented work and one that is neither comedy nor tragedy. I was interested to see what Secret House would deliver.
Thanks to the direction of Sean O’Riordan I was totally immersed in this well paced and engaging production. His paring down of the work from three to two hours was a wise decision. Helen (of Troy) did not appear and the various sung ditties by Pandarus were also mercifully absent.
Movement (Virginia Ferris) was a strong component of this production. At the play’s beginning the full cast mimed a short scene to acquaint a modern audience with the abduction of Helen and the seven-year battle that followed. This reinforced the prologue to the play.
A strongly energetic scene depicting the adulation of the warriors returning from the battlefield was interesting and effectively handled. Scottie Witts also did a great job of choreographing the sword fights and battle scenes. Physical scenes throughout the production stopped audiences from losing concentration in the static scenes often comprised of long philosophical monologues and debates.
The contrasting moods these scenes created were enhanced not just by the direction, but also by the soundscape and lighting (Mehran Mortezai). The sound effects and music used were very evocative. Unfortunately the program did not list who was responsible for this major contribution to the production.
Maya Keys designed the set and costumes well for a play with a modest budget. Red, worn by Cressida, was the only standout colour on stage, presumably signifying her wanton character. This was in contrast to the white worn by Hector’s wife presumably signifying purity.
The performances were a little uneven overall but my main problem was with the gender changes. Achilles and Ajax are classical male warrior roles and to have females act these parts was unconvincing and seemed without purpose.
On a positive note, the main roles were competently performed. Shan-Ree Tan (Ulysses) in particular gave an engaging performance throughout and the standout performance for me was Charles Upton (Pandarus). The editing of the original text allowed for a slightly different interpretation of the role. His unusual task, to encourage the coupling of Troilus and Cressida was strangely acceptable because of his charisma on stage. This stage presence was also used to great effect at the play’s end when, flanked by women of ill repute, he salaciously and maliciously delivers the last two lines.
Liz O’Toole – Theatre Now
Troilus And Cressida
William Shakespeare
9th-19th May
Wed – Sat 8pm
Sat 2pm
Venue: Depot Theatre
Theatre Company: Secret House
Duration: 130 minutes including interval
