The Ophiolite review - a family at war over patriarch’s dying wishes
A Family's Final Battle: Tradition vs. Legacy
In the realm of ancient Greek literature, contested burials are a common theme, as one character astutely points out in Philip de Voni's dramatic masterpiece. This play delves into the heart of a Cypriot-British family's power struggle and cultural clash following the passing of their patriarch.
Aristeia (Lucy Christofi Christy), driven by her deep-rooted sense of tradition, insists on fulfilling her late brother's dying wish to be buried in the Cypriot mountains, a practice passed down through generations. On the other hand, his British wife, Jennifer (Ruth Lass), believes her late husband's final wish was to be laid to rest in England. This clash of sacred traditions and cultural values sets the stage for a gripping drama.
The backdrop intensifies the tension as the interment of former president Tassos Papadopoulos is stolen, symbolizing a more public sacrilege. The legacy of British colonial rule adds another layer of complexity to the conflict between these two women.
The play's central conflict between Jennifer and Aristeia, as the last will and testament is read, has the makings of a powerful drama. However, it falls short of its potential. De Voni's debut play ambitiously weaves together big, original ideas about our relationship with the dead and the intersection of belonging, culture, and land. Yet, the force of these ideas is lost due to the flimsy character development. Some characters, like Jennifer's second husband, Dominic (Sam Cox), serve little purpose beyond advancing the plot.
Penelope (Han-Roze Adonis), Jennifer's daughter, echoes the patience of Odysseus' wife, left behind for his adventures. She grapples with a sense of parental abandonment, slowly becoming the focal point of the story alongside her mother's guilt and responsibility. However, the audience may not feel as deeply connected to her or any of the characters as they should.
Directed by Kerry Kyriacos Michael on Cory Shipp's stark traverse stage set, some scenes are effectively staged, particularly the clashes between mother and daughter, and Jennifer and Dominic's discussions about love, death, and togetherness. There are also deftly written scenes brimming with complex emotions. Nevertheless, the actors do not quite bring these scenes to life as intended.
Soupy musical interventions bluntly dictate mood changes, giving the drama the feel of a TV melodrama. The play excels in seamlessly blending the ancient and modern, but it feels static and ponderous, too much of a discussion of ideas. At over two hours, the play's promise and potency are ultimately dragged down by its pace.
The Ophiolite is currently playing at Theatro Technis, London (https://www.theatrotechnis.com/whatson/the-ophiolite), until February 22nd.
