The Ophiolite review – a family in conflict over the dying wishes of its patriarch
At the heart of ancient Greek literature lies a multitude of narratives concerning disputed burials, and Philip de Voni’s drama draws on this rich tradition. Central to the story is a profound power struggle and cultural clash within a mixed Cypriot-British family following the death of their patriarch.
In the year 2009, set against the backdrop of Nicosia, we meet Aristeia (played by Lucy Christofi Christy) who passionately argues for her deceased brother to be laid to rest in the mountains of Cyprus, honoring a burial practice steeped in generations of tradition. In opposition, his British widow, Jennifer (portrayed by Ruth Lass), insists that her late husband’s body should be repatriated to England, claiming it was his final wish. This scenario presents a poignant conflict between Aristeia’s unwavering dedication to sacred customs and Jennifer’s perspective advocating for liberation from a cultural obligation that her husband seemingly did not cherish. Both women attempt to influence the younger generation: Jennifer’s daughter, Penelope (Han-Roze Adonis), and Aristeia’s niece, Xenya (Chrisanthi Livadiotis).
Compounding this personal struggle is a more public act of desecration; the body of former president Tassos Papadopoulos has reportedly been stolen, signaling the residual impacts of British colonialism that linger over the contentious interactions between these two women.
This setup lays the groundwork for a deeply charged piece of theater, reminiscent of Antigone, particularly highlighted during the dramatic reading of the last will and testament that pits Jennifer against Aristeia. However, despite its ambition, De Voni’s debut does not fully deliver on its potential. While it ambitiously intertwines significant themes about our connection to the deceased and the complexities of identity, culture, and land, these ideas fail to resonate with the emotional weight one might expect, as the characters often feel underdeveloped. For instance, Jennifer’s second husband, Dominic (Sam Cox), appears more as a plot device than a fully realized character.
Penelope mirrors the quiet strength of Odysseus’s wife, waiting at home as life unfolds elsewhere. Her journey encapsulates feelings of abandonment, which gradually shift the focus onto her narrative along with her mother’s burden of responsibility and guilt. Yet, the audience struggles to forge a meaningful connection with her or any character, which detracts from the overall impact of their stories.
Directed by Kerry Kyriacos Michael, the production employs a stark traverse stage designed by Cory Shipp, leading to some powerful moments—particularly the confrontations between mother and daughter, as well as dialogues between Jennifer and Dominic that explore love, mortality, and togetherness. While there are well-crafted scenes filled with intricate emotions, the performances fall short of bringing them to life.
Distracting musical interludes bluntly dictate the mood shifts, giving the production a melodramatic tone akin to television dramas. However, where this play truly shines is in its seamless blend of ancient themes with contemporary issues. Unfortunately, it also suffers from a sense of stagnation and sluggishness, leaning too heavily on philosophical discussions rather than dynamic storytelling. With a runtime exceeding two hours, the initial promise and intensity of the play are ultimately subdued by its pacing.
Catch this engaging piece at Theatro Technis, London (https://www.theatrotechnis.com/whatson/the-ophiolite) until February 22.
