by Ed Fortune
Greek Myth continues to serve as a source of inspiration to the arts to this day, and it’s always fascinating to see what it influences throughout the spectrum of modern media. While the folk at the Edinburgh Fringe were radically re-imagining myths, the Edinburgh International Fringe hosted a heady and significant double-bill of two connected performances: Phaedra and Minotaur.
Phaedra is the story of a Cretan princess, the daughter of King Minos. Her desire for her stepson, the asexual Hippolytus, leads to tragedy. It’s also a cantata for mezzo-soprano created by the legendary Benjamin Britten. In this production, the mezzo-soprano is the world-class Christine Rice.
The sublime Richard Hetherington is our pianist for the show, and the piano throws a dark shade on the brightly lit stage. They are minimal props: a minotaur’s head, a chair, and other surprises, all hidden by a stark white cloth until the appropriate moment. The lighting is dramatic and perfectly timed; as Rice performs Phaedra’s decline into madness, the staging accompanies the mood in a precise and incredible way. Rice’s voice is both perfect and powerful. It is unforgettable.
After a strong 25-minute interval, we return to part two, Minotaur. The stage is dark, except for a splash of blood red dashed across the stage, the effect created again due to clever lighting. They are a few props; again, the now iconic minotaur head, but also a bed. The back of the stage is steeped like a climbing wall. Scenes are announced with a short title cast onto the stage; we begin with COMBAT and end with DEUS EX MACHINA.
Kim Brandstrup’s choreography is simply magical, though the performances feel slightly clinical at points. Tommy Franzen is ethereal in his role, literally dancing up the wall at one point. The entire performance makes more sense if you already know the story of Minos and Theseus, but even if you don’t, the beauty of the performance is undeniable.
Unforgettable.
You can find out more about the Edinburgh International Festival here.
