Synopsis Two Helens, the real and the phantom. A war is fought over the phantom but the real one goes unrecognised. Helen's husband has a reputation as a hero - but he isn't. The King of Egypt is dim and the virtuous Whore of Sparta has to manage her own rescue. Young Hearts Season
The Globe premiered its first full-scale Greek drama this week (5 August 2009, previews from 2 August), with Frank McGuinness' new version of Euripides' lesser-known and rarely performed Helen.
Written in 412BC, Helen radically reimagines the story of Helen of Troy. In Euripides' version, a phantom triggered the Trojan war, while the real Helen has spent the subsequent years in exile in Egypt under the watchful eye of King Theoclymenus. When her husband Menelaus is shipwrecked off the Egyptian coast, the couple are finally reunited and plot their escape.
There was little critical consensus over Helen - particularly regarding the play's genre - but on one issue they were united: all were glad to see Greek drama making its long-awaited bow at the Globe. Most made mention of the particularly “free” nature of McGuinness' translation, which for some increased the play's resonance but for others set the wrong tone with its “colloquial chirpiness”. Of the performances, overnight critics were enraptured by Penny Downie's “fiery” and “dominating” Helen, while Paul McGann was praised for his “engaging directness” as Menelaus. And our award for most oft-mentioned chorus member in a review round-up definitely goes to the mysterious “countertenor in a white tuxedo”.
Maxwell Cooter on Whatsonstage.com (four stars) - “Frank McGuinness' new translation eschews much of the poetry but offers a fast, snappy take on the story. His use of the vernacular ensures that the play has a resonance to modern-day audiences. And the theme - of the futility of war and the ease with which life can be sacrificed for so little cause, 'for the sake of a dream' as an old soldier puts it - certainly strikes us as relevant today … Despite being lumbered with a weird set from Gideon Davey, dominated by what appears to be pile of coal, director Deborah Bruce makes the most of the space and proves that the Globe is a stage that works perfectly for Greek drama; let’s hope we see more … Downie’s performance dominates the production but it's the questions about the wisdom of fighting wars for dubious causes that really hit home.”
Charles Spencer in the Daily Telegraph (four stars) - “Scholars have long argued about what kind of play Helen actually is: a comedy, a tragedy, a romance? Let’s just say it’s a genre-busting drama of great panache, often reminiscent of such late Shakespearean plays as The Winter’s Tale and Pericles … Some may find McGuinness’ translation too free. A gatekeeper tells Menelaus 'No dogs, No Greeks - f*** off, foreign bastard', but there are also passages of more lofty blank verse, and the modernity and irreverent wit suits the play. Deborah Bruce’s production, set in an Egyptian graveyard, deftly combines ancient and modern, the serious and the frivolous, and the evening is powered by a terrific performance from Penny Downie … In this continuously alert and stylish staging, there’s a countertenor in a white tuxedo among the bedraggled chorus of peasant slaves, and an outstanding performance from Paul McGann. There’s also a delicious comic turn from Rawiri Paratene as the plump, lustful and hilariously stupid Egyptian king ... This rare revival of an undervalued classic proves the jewel in the Globe’s crown this season.”
Henry Hitchings in the Evening Standard (three stars) - “While parts of Frank McGuinness’ new version are handsomely lyrical, its poetic archaisms sit oddly alongside … There are shonky lines to boot: 'The gods are changeable as a child’s arse' may get a laugh but it means nothing. The idea is to enable Euripides to speak to a modern audience: the result is bumpy. Still, the actors have fun with it. As Helen, Penny Downie moves nicely from conspiratorial allure to flailing eroticism, and Paul McGann’s Menelaus has an engaging directness. The chorus proves endearingly Pythonesque, while a shoeless countertenor in a tux lends a touch of finesse. Deborah Bruce’s direction has verve but there are too many ideas competing for space. Gideon Davey’s set - a puzzling mix of graveyard, dungheap and tinseled cabaret - is typical of a production that affords real pleasure yet seems confused about its main intent.”
Michael Billington in the Guardian (two stars) - “Good to find Greek drama making its debut at the Globe, and it's especially pleasing to see this comedy by Euripides getting a rare public showing. But this is comedy with a serious point and a political purpose that get submerged under the jokiness of Deborah Bruce's production and the colloquial chirpiness of Frank McGuinness' new version … It's a playful, witty affair and there are moments when the production captures the appropriate lightness … But all too often the production strives for laughter instead of letting it emerge naturally: Helen's siblings, Castor and Pollux, are typically turned into comic workmen and then joke-angels with squeaking shoes and fancy feathers. We also lose sight of the play's ultimate seriousness … The cast admittedly work with a will … But Gideon Davey's design is more messy than pleasing to the eye and the production is full of eccentricities such as a choric counter-tenor strolling through the action in white tuxedo.”
Benedict Nightingale in The Times (four stars) - “It’s an odd, suggestive play that begins by introducing us to the real Helen, who has been dumped by Hera in Egypt, where she’s spent 17 years being sexually harassed by the local Pharaoh and yearning for her husband, Menelaus … Penny Downie, a fine, fiery Helen with the hair of a Pre-Raphaelite beauty, moves from suicidal self-hatred to joy when she’s suddenly confronted with Paul McGann’s bold, tough Menelaus … The fun sometimes seems forced. Nor could I see why the chorus of slaves, who look like Balkan ragamuffins, was led by a counter-tenor in a white tuxedo; yet the point still comes across. Troy was needlessly destroyed. Greeks were needlessly killed. As the chorus says, damnation to all warmongers.”
Helen is the strangest of Greek tragedies - indeed it is not really a tragedy in the usual sense of the word. It's a play with a happy ending where the stage is refreshingly uncluttered by corpses. However, it’s also a piece that balances some sprightly comedy with some serious reflections on the nature of war.
Euripides has an intriguing twist on the familiar story of Helen of Troy. In his take on the tale, Helen has not been abducted by Paris, but a replica of her has been created by the gods, a replica so lifelike that it deceives her husband Menelaus. Helen has passed the ten years of the Trojan War and seven years since in exile under the watchful eye of King Theoclymenus . There she stays until Menelaus arrives, washed up on the Egyptian shores in simple clothing; reunited, they plot their escape from the lascivious king, who has his own designs on Helen.
Frank McGuinness' new translation eschews much of the poetry but offers a fast, snappy take on the story. His use of the vernacular ensures that the play has a resonance to modern-day audiences. And the theme - of the futility of war and the ease with which life can be sacrificed for so little cause, “for the sake of a dream” as an old soldier puts it - certainly strikes us as relevant today.
Helen is a lip-smackingly great part for a woman and Penny Downie relishes every moment of it. Right from her first appearance on a pillar, she takes the audience into her confidence; this is woman strong enough to resist the blandishments of a powerful king and to defy the gods. Paul McGann's more measured Menelaus is inevitably in her shadow but through a beautiful, under-stated performance he displays a real kingly quality. There’s a brief turn from Rawiri Paratene as the thwarted king, richly playing up the comic possibilities.
Despite being lumbered with a weird set from Gideon Davey, dominated by what appears to be pile of coal, director Deborah Bruce makes the most of the space and proves that the Globe is a stage that works perfectly for Greek drama; let’s hope we see more.
It's certainly good to see the Globe tackling non-Shakespearean classics. There was a healthy attendance for such a little-known play, and it was warmly appreciated. Downie’s performance dominates the production but it's the questions about the wisdom of fighting wars for dubious causes that really hit home.
I've always felt that the authentic Globe experience can only really be attained during a daylight matinee, which makes it highly appropriate to stage a Greek drama - it's surprising they haven't done it before. Helen (. . . . . of Egypt) is an excellent first choice - broad enough to rise above the distractions at this venue and, at 90 minutes, just the right length for the uncomfortable seating. Deborah Bruce treats Euripedes' tragic comedy (or comic tragedy) as a joke filled romp with a very modern translation by Frank McGuiness, although some of the colloquialisms go too far. Penny Downie is magnificent as Helen, spirited and erotic and showing a testy impatience when her long lost husband proves a bit slow on the uptake. Paul McGann is a dignified Menelaus, effectively stolid amongst the near farce around him and there's a bit of fun spotting sporting lookalikes - Mohammed Ali as the King of Egypt and Roy Keane lurking in the chorus. Not all the gimmicks work - Castor and Pollux as labourers with angel's wings are just silly, but Helen is great fun and I hope Greek drama has found a new al fresco home on Bankside. - David Baxter
23 Aug 09
This first Greek drama at The Globe proves quite a treat. It helps that Euripides version of the story has Helen nowhere near Troy when they fought over her and that Frank McGuiness' translation is irreverent and playful, making the play very suitable for the Globe. The design is a bit of a mess, but the performances are very good, with Penny Downie on terrific form as Helen. William Purefoy's counter tenor added a lovely quality to the music, which is much more than incidental in this production. There's nowhere like The Globe when it's good, and here it's good. - Gareth James
17 Aug 09
The audience gave this a warmer reception than Troilus which seemed a little unfair at half the length and difficulty of text. However, it was funny and thought provoking. Penny Downie was engaging. Deborah Bruce the Director, in the pre-show talk, spoke about the need for bold decisions which she had certainly taken. It clearly was enjoyed and she has done a good job. The moment when the Chorus realised they were not going to get to go back to Greece was genuinely moving. I was not keen on the "surprise" but I thought it was quite clever if a little contrived. It was good to hear music so integrated into the production which created atmosphere and contributed to stylistic understanding. - Hilary Lister
A rebuild of Shakespeare's original Globe theatre close to the original site. Society of London Theatre member. Note: Booking opened March 3rd 1996. Tickets for performances range from £5 (standing in the yard) to £37.50 for the best gallery seats). Induction loop facilities. Wheelchair facilities. Extensive education programme. Restaurant, cafe and bar. Dark during the winter but the museum and venue remain open. One of the few London venues with Sunday performances. The Globe Theatre Season runs from April to October. The Globe Education Centre is located in Park Street and runs an educational autumn season.
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