The Ophiolite Review: A Family's Battle Over a Dying Man's Legacy
In the realm of ancient Greek literature, contested burials abound, as one character in Philip de Voni's dramatic masterpiece points out. This play centers on a power struggle and cultural clash within a mixed Cypriot-British family following the death of its patriarch.
Aristeia (Lucy Christofi Christy) in Nicosia, insists on her late brother's burial in the Cypriot mountains, a practice rooted in family tradition. However, his British wife, Jennifer (Ruth Lass), argues for her late husband's body to be taken to England, as he expressed in his dying wishes. The conflict arises between Aristeia's sacred traditions and Jennifer's desire for freedom from cultural rituals that her husband did not value. Both women attempt to sway the younger generation: Jennifer's daughter, Penelope (Han-Roze Adonis), and Aristeia's niece, Xenya (Chrisanthi Livadiotis).
The backdrop intensifies the drama with the theft of the interred body of former president Tassos Papadopoulos, symbolizing the legacy of British colonial rule. The tension between the two women is palpable, mirroring the clash of their cultural backgrounds.
This play has the potential to be a charged drama, reminiscent of Antigone, with a dramatic showdown between Jennifer and Aristeia as the will is read. However, it falls short of this promise. De Voni's debut play showcases ambition and weaves complex ideas about ownership of the dead and the intersection of belonging, culture, and land. Yet, the characters feel underdeveloped, with some barely present, like Jennifer's second husband, Dominic (Sam Cox), who serves as a mere plot device.
Penelope, echoing the patience of Odysseus' wife, endures a sense of parental abandonment, making her story intertwine with her mother's guilt. However, the audience doesn't connect with her or any other character as deeply as they should.
Directed by Kerry Kyriacos Michael on Cory Shipp's stark traverse stage set, some scenes are powerful, especially the clashes between mother and daughter, and Jennifer and Dominic's discussions about love, death, and togetherness. There are also skillfully written scenes filled with complex emotions. However, the actors don't fully capture the essence of these moments.
Soupy musical interventions, bluntly dictating mood changes, detract from the drama, giving it the feel of a TV melodrama. The play excels in seamlessly blending ancient and modern elements, but its pace drags down its promise and potency. At over two hours, the play feels static and ponderous, too much of a discussion on ideas rather than a captivating narrative.
At Theatro Technis, London (https://www.theatrotechnis.com/whatson/the-ophiolite), until 22 February
