Curran brings the tragic story of Phaedra, Hippolytus, and Theseus to the stage in Syracuse
A large head, a large face that reflects the story, now smiling white, then inflamed with passion, then scorched by remorse and guilt until it becomes a skull and cracks. This is the only decoration at the center of the scene, closed behind by the royal palace, a three-story structure. The play, titled ‘Phaedra’, is highly acclaimed and is actually based on Euripides’ ‘Hippolytus’, as indicated by the subtitle. It is directed by Paul Curran, with sets and costumes designed by Gary McCann. This is the second performance of the 39th classical season at the Greek Theater in Syracuse.
This tragedy revolves around the uncontrollable subversive and devastating force of eros, which has struck Phaedra, the embodiment of physical love. After her off-stage suicide, Curran brings her body back to the center of the action until the end. She becomes ill and fasts for days, wishing to be taken “to the woods, among the pines, where the dogs run.” This devastating desire is for the young Hippolytus, her husband’s son from another woman. It is stirred by Aphrodite, who wants to punish him for his vow of chastity. Hippolytus is devoted to the gods and especially to the virgin Artemis, to whom he has dedicated his life. He rejects with disdain the proposal made by Phaedra’s nurse to violate his father’s bed and betray him and his own oath. Two realities, two choices, between purity and eros, tragically clash with each having its own truth and foundation.
The text, excellently translated by Nicola Crocetti, is of high intensity. It first allows us to enter and experience Phaedra’s pain and anguish, especially through her dramatic confrontation with the nurse. Then, it shifts to Theseus’ despair and finally to the tragic encounter with the dying Hippolytus, who is now exonerated by the intervention of Artemis herself. She even comes to comfort him about his destiny, apologizing for the fact that one god cannot interfere in the plans of another god, otherwise she would never have allowed Aphrodite to carry out her evil plan.
This is a deeply human and highly theatrical drama, mainly relying on the actors’ performances. Among them, Gaia Aprea stands out for her passionate and rational delivery as the nurse. The youthful impetus and consistency of Riccardo Livermore are also noteworthy. They were the most applauded by the audience on the opening night, along with Alessandro Albertin’s furious and grieving Theseus, Alessandra Salamida’s Phaedra, Giovanna Di Rauso’s Artemis, and Ilaria Genatiempo’s Aphrodite.
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