Iphigenia (Bath)

Iphigenia is perhaps the boldest choice of Laurence Boswell’s exciting first season at the Ustinov. Goethe has fared less well on British stages recently than some of his contemporaries. Boswell, though, has unearthed a great play and given it a gripping production.

Iphigenia is a sequel to Iphigenia on Aulis in which Agamemnon, Iphigenia’s father, sacrifices his daughter to Diana so that the becalmed Greeks can sail for Troy. Iphigenia willingly goes to her death, only to be swept away at the last minute by Diana and taken to Tauris where she tends Diana’s temple. This is how we find her at the start of Iphigenia, an exile longing for home.

Much depends on the actress playing the title role and here we get an outstanding performance from Laura Rees who makes her character’s emotional turmoil and belief in truth and honesty in human relations (and her stirring defence of women ) completely convincing. There is not a weak link in the cast. The long duologues – there is a lot of news to convey – and soliloquys are handled beautifully, perfectly paced and engrossing, a tribute to the actors, Boswell’s direction and Meredith Oakes’ lovely, clear translation. Clarity is the watchword of this production of a Greek drama seen through the lens of the Enlightenment, which holds one’s attention right up to the moving final words.