The Ophiolite Review: A Family's Battle Over a Dying Man's Legacy
In the realm of ancient Greek literature, contested burials are a common theme, as one character in Philip de Voni's play points out. This drama 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 fulfilling her late brother's dying wish to be buried in the Cypriot mountains, a tradition passed down through generations. However, his British wife, Jennifer (Ruth Lass), argues for his body to be taken to England, as she claims was his final wish. This disagreement pits Aristeia's sacred traditions against Jennifer's desire for freedom from cultural practices 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, as the body of the former president, Tassos Papadopoulos, has been stolen, symbolizing a more public sacrilege. The legacy of British colonial rule adds another layer of tension between the two women.
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 doesn't quite reach its full potential. De Voni's debut play is ambitious, exploring 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 primarily as a plot device.
Penelope, echoing the patience of Odysseus' wife, Penelope, struggles with a sense of abandonment, making her story intertwine with her mother's guilt and responsibilities. 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 effective, particularly the clashes between mother and daughter, and Jennifer and Dominic's discussions about love, death, and togetherness. There are also deftly written scenes filled with complex emotions. However, the actors don't fully bring these scenes to life.
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 themes, but it feels static and ponderous, too much of a discussion on ideas. At over two hours, the play's promise and potency are ultimately slowed down by its pace.
At Theatro Technis, London (https://www.theatrotechnis.com/whatson/the-ophiolite), until 22 February
