After all the media hype, the interviews, the previews, the bare-bum photos, "The Bacchae" has opened at the King's Theatre. All the attention was given to Scottish actor Alan Cumming, taking the starring lead role as Dionysus, his first theatre role in Scotland for 16 years.
Cumming has enjoyed a glittering career. From comedy double act, Victor and Barry, he joined the RSC to great acclaim, and then on Broadway won a Tony award for his deliciously camp performance as the MC in Cabaret. For this contemporary, musical-comedy interpretation of the Greek tragedy, first produced in 405 BC, the casting of Cumming as Dionysus is a perfect choice.
The opening scene is visually breathtaking. Dionysus descends from the godly heavens, head first, naked posterior, dressed in shining gold. In fact, he is wearing a gold lame kilt and matching waistcoat, his face framed in thick auburn curls. Standing right on the edge of the stage, hand on hip, posing, prancing, he delivers the prologue with a clear, lyrical (trans-Atlantic/soft Scottish) tone of voice, addressing the audience directly and draws us into the story: "So Thebes, I am back. Dionysus. You do know me. Semele my mother, Zeus my father, Lightning my midwife. I am of course, a god."
Dionysus, god of wine and theatre, has arrived in his birthplace the Greek city of Thebes. When he was born, his mother's sisters refused to believe that he was the son of Zeus, and now he has returned to punish their blasphemy and prove his divinity. He is accompanied by his "groupie" entourage of women, the Bacchae, he brought with him from Asia. The chorus of ten beautiful black women make a dazzling appearance in blood red frocks, worshipping him in lively displays of rhythmic, rapping and spiritual song and dance routines.
Dionysus has now begun possessing all the women of Thebes, the Maenads, who are driven wild by the ecstasy of this divine and exotic god. The women have left their homes and now celebrate with orgiastic Bacchanalian revelry in the mountains, including Semele's sister, Agave, mother of the King of Thebes. King Pentheus (portrayed by Tony Curran in quiet sober mood, in grey buttoned up business suit) denies the god's existence and imprisons Dionysus. The underlying theme of the play debates the contrasting relationship between Apollonian intellectual, moral values and Dionysian free spirited views of music, wine, love and sexuality. The duel of wits and words begins.
David Greig's colourful modern translation matched by John Tiffany's visually exciting direction works brilliantly. Special effects and lighting, representing the natural elements, surprise and shock. Greek drama was never naturalistic but a highly stylized art form: actors wore masks and the performances incorporated song and dance. Here it has been given a glitzy, glamorised Scottish Pantomimic treatment, 21st century style.
There is a great deal of humour although this does not detract from the tragic consequences of the brutal and bloody revenge by Dionysus on Pentheus and all he stands for on his moral high ground. This is a tightly crafted, sparkling new version performed with energy, wit and fresh insight by a superb ensemble. And Alan Cumming is, again, deliciously camp.
Times: 11-18 August, 8pm. matinee, 15 and 18 August, 2.30pm.