REVIEW - Bakkhai, Stamford Shoestring Theatre Co., Tuesday 3rd June 2025 - ***.5
- theatrereviews
- Jun 5
- 3 min read
A Greek tragedy might seem like an odd selection for an amateur theatre company; however, Stamford Shoestring have proven themselves to be far from average. Their works are bold, determined, and assured. Having said that, the opening performance of Ellen Fraser’s production of Bakkhai is not always as concise or mesmerising as the earnest efforts of the cast, or indeed the subject matter, craves. But stick around, because this is a show that proves its mettle in the second, lean, and full-throttle act.
The directing and the script are as one, but there is a feeling that the Euripidian story of the ousted son of Zeus, Dionysus, and his revenge on his mortal mother’s family, has been stretched in Anne Carson’s sometimes ambling text and Ellen Fraser, while fully embracing Grecian theatre troupes with panache and envious precision, becomes unstuck with the doggedly static plot of the first half of the play. This is not to say that the cast, and the production as a whole, didn’t keep me engaged – the Bakkhai chorus is a formidable presence, the lighting stark and emotive, and the costumes luxurious, all made for a compelling evening. Fraser has the Bakkhai working in mesmerising unison and, simultaneously, each embodies their own individual character. They are faultless, on stage for nearly the whole of the play, and each and every member wide-eyed and demonstrative beyond the confines of the sometimes slight script.
Dionysus himself, played by Tom Heritage, who bears a striking resemblance to Suzy Eddie Izzard in both look, tone and posturing (at times), has comparatively little to do, and, despite the retaliation of the character being somewhat justified, to a degree, there is not much to like about this hedonistic, vitriolic underdog. Simon Hix-Litten’s Pentheus is given greater rein but is relatively subdued; in the moments of light relief and comedy – and there could be quite an amount of it – the actors and director come a-cropper, in fear, perhaps, of misguiding the tonality and ‘cheapening’ the story. Maybe the revelations of the second act would come out of the blue? I don’t think that would be the case. The tender, moving and harrowing moments of the second act far outweigh anything and everything before it anyway. Having said that, Heritage and Hix-Litten share great on-stage chemistry, where the heightened, cat-like bickering starts to spark. Also, extra praise to Helen Naylor who delivers an impactful, show-stopping monologue as Pentheus’ servant, and also the heart-wrenching performances of Dominique Norris and Tony Pearce-Smith who, as Agave (Pentheus’ mother) and Tadmos (Agave’s father) respectively, get the lion’s share of the gripping melodrama, pitched perfectly and worth the price of admission alone.
Stylistically, it’s refreshing, in a bewitching sort of way, to see such a slick presentation of a Greek tragedy, albeit one of the oldest, and most affected, forms of theatre. Greek tragedies evoke often cringeworthy portrayals from A-level students, barefooted and somewhat strained in their performances, and often bypassed by every company that flourishes from thereon. That in itself makes this offering from Shoestring worth taking a gander at, because, when it is good, it is VERY good.
Bakkhai won’t be for everyone, but then, very few art forms are actually meant to be. It is, for everyone on the opening night at the Stamford Arts Centre, a well-told, beautifully crafted piece of storytelling. It’s not always enthralling, but it’ll have all your senses awakened and leave you with a strong appreciation for the talent within this most picturesque market town.
Bakkhai is being performed at the Stamford Arts Centre, until Saturday 7th June, 7.45pm nightly. For more information and booking please click on the link below.
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