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CREW Director: Adam Gibb Assistant Director: Roseanna Long Producer: Naomi Pine Assistant Producer: Rosamund Williams Executive Producer: Karim Arafat Assistant Executive Producers: Irene Polinskaya, Ellen Adams Stage Manager: Jessica Doumeng Set Design: Jasmin Kirkbride, Christopher Edwards Costume Mistress: Catalina Hirst Costume Assistant: Louisa Innes-Wilkin Hair & Make-Up: Ashlesha Vaishampayan, Louisa Innes-Wilkin, Catalina Hirst Lighting: Loess-Rose Mills Sound: Jasmin Kirkbride Poster and Flyer Design: Jasmin Kirkbride Programme: Will Speed Business Manager: Alex Wood Business Assistants: Lorna High, Elizabeth Prior, Christopher Edwards, Louisa Innes-Wilkin, Amy Rodmell
CREW
Synopsis The play opens with the eponymous heroine, alone, sitting by the tomb of deceased king of Egypt and her former protector, Proteus. She has taken sanctuary here from her persistent suitor, and current tyrant, Theoclymenus. She recounts a brief history of the births of Proteus’ children: the king Theoclymenus and the princess Theonoe (a name indicating her prophetic mind). She reminds us of the traditional story of her life in Sparta, the competition between the three goddesses, her supposed journey to Troy and how Hermes whisked her away from danger and delivered her safely in Egypt, sending a phantom to Egypt with Paris instead. Teucer, a warrior hero from Troy, enters and informs Helen, unaware of her true identity, of the events of the war: the fall of the city, Menelaus’ stormy journey in the Aegean and the fates of Helen’s mother and brothers. Helen invites the chorus on stage, lamenting her fate, while the chorus take pity on her, bidding her to visit Theonoe to learn the truth about her husband. A shipwrecked Menelaus enters, mourning his own fate in the same manner as Helen. His ‘wife’ and companions have hidden in a cave waiting to learn where they have arrived. As he attempts to gain entry to the palace an old woman comes out warning Menelaus of the king’s hostility towards the Greeks and tells him that a woman called Helen lives inside. After baffled musing by Menelaus, the chorus re-enter leading Helen. Helen and Menelaus see each other and the ensuing conversation marks the beginning of their reunion. Initially, Menelaus rejects Helen despite her efforts to convince him of her identity. After the first messenger enters and explains that the phantom Helen has vanished from the cave, thus revealing the truth about the situation, Menelaus and Helen embrace, recalling the events of the past seventeen years to each other. Finally, Menelaus orders the Messenger to return to his companions and inform them of the events and prepare to get away from the land if they can. The reunited couple begin to wonder how they can escape unnoticed: Helen tells Menelaus about the cruel tyrant who holds her captive – harbouring a strong dislike for any Greek – and his sister the prophetess, who is loyal to her brother and will prove difficult to persuade. Menelaus decides that if he cannot return home with his rightful wife, then no-one can have her, making a pact to kill Helen at Proteus’ tomb if they cannot escape together.
Theonoe enters, asking Helen about the arrival of Menelaus and bids a servant to go inform her brother. Helen begs her to reconsider, explaining that it is the will of the gods that she should be reunited with her husband. Menelaus explains his honourable plans to save Helen at all costs from Theoclymenus, even if this results in death. Theonoe considers each prayer and grudgingly decides to keep the secret since it is ultimately in Theoclymenus’ best interests. Elated, Helen and Menelaus begin devising a plan for their escape, and Helen decides that they should pretend Menelaus has died, so that under the pretence of mourning they can convince Theoclymenus to arrange a burial. Menelaus hides behind the tomb in preparation for his part as the messenger of Menelaus’ “death”. The choral ode describes military fatalities, the futility of the war itself, and the ignorance of men. When Theoclymenus enters, he notices Helen has moved from her sanctuary by the tomb but turns to see her appear at the door in mourning attire. Helen laments and explains how she has received news that Menelaus is dead and indicates Menelaus as the one who told her. She asks Theoclymenus if she can hold a burial – after agreeing to marry him – for her husband while Menelaus details the procedure for a Greek burial of a man who died at sea. After Theoclymenus agrees they finalise the arrangements inside the palace and the chorus sing an ode to Demeter about the rape of Persephone which led to the order to gladden Demeter’s heart with odes and festivals. Helen explains that the preparations were successful and after Theoclymenus has ordered his sailors to wholly obey Menelaus’ order, Helen and Menelaus exit for the ship. The final choral ode bids the voyagers a safe trip homeward, hoping this is an end to a fatal encounter. As Theoclymenus re-enters, a second Messenger – one of the sailors from the ship – enters bearing the news that Menelaus and Helen have escaped to Sparta. An elaborate scene follows where the Messenger outlines everything that occurred on the ship. In a rage, Theoclymenus races to the palace declaring his intention to murder his unfaithful sister, when a servant comes out to stop him before the Dioscuri appear, placating Theoclymenus and explaining the will of the gods. Finally the Chorus deliver their salient lines about divine will.
Euripides’ Helen: Surface and Depth Euripides’ Helen is one of the most straightforwardly enjoyable of all his plays. Purists may decry the happy ending and the melodramatic story-line that leads up to it, both of which have frequently been looked down on as unbecoming to the dignity of ‘true’ tragedy, but the rest of us are under no obligation to allow this to spoil our pleasure in a story of danger, despair and unjust persecution transformed by kindly providence and a heroine’s resilient ingenuity into rescue, escape, vindication and happiness regained. And in fact the excitement and sentimentality turns out to have a more subtle and reflective side too, making this anything but a shallow play. The big trick that Euripides pulls in his plot is of course the one he borrows from the sixth-century lyric poet Stesichorus, according to which the real Helen never went with Paris to Troy, and what did go, to be feted and fought over for the ten years of the war, was a phantom substitute. What counts though is not this piece of dramaturgical opportunism in itself, but the effects that it allows Euripides to develop, and in particular the scope it gives him to weave in a whole host of situations and themes developed from Homer’s Odyssey. Not only the Egyptian setting and the wanderings of Menelaus, echoing Odyssey Book 4, but also the themes of resourcefulness, deception, illusion, disguise, exile and nostalgia are all deeply Odyssean. Helen herself is the Odysseus of the piece: it is her resourcefulness and skill in deception that drive the action forward, and it is on her that the play’s expressions of longing for a lost and cherished home concentrate until they are dissipated in the triumphant final chorus. But at the same time the story of her phantom double gives her predicament an extra poignancy and subtlety, which both distinguish her from any Odysseus and link up with the ways her story is told and thought about by other Greek authors. The question of responsibility – of whether or how far she should be blamed for leaving her husband and starting the Trojan War – clings to the Helen of Greek myth and literature with remarkable tenacity, all the way from Book 3 of the Iliad to the Praise of Helen by the sophist Gorgias. Having a phantom Helen as well as a real one in play allows Euripides to explore what it might feel like to know oneself technically to be completely innocent (‘It never was me at Troy’), and yet unable to escape the anguish of being hated even so, or to put aside all feelings of guilt (‘It was a phantom of me that was at Troy’).
Michael Trapp
My Greek play career began in my first year when I was cast as the Athenian delegate in Lysistrata. The experience was wholly enjoyable and throughout the course of my involvement I made many friends: it was a great way to become integrated to the department. Rehearsals were intense at times and I felt the pressure of learning lines in a foreign language from the very beginning; however, the final product made all that worthwhile, so much so that the following year, when asked to be producer for Persai, I was excited at the prospect of further involvement. With more responsibility, I finally appreciated how much effort and dedication continuing a tradition as integral and important as this requires. Having observed all sides of the Greek Play sphere, I decided to pitch an idea for the 2011 production: without much clue about directing but with plenty of enthusiasm, I was delighted when I was made director. My whole motivation throughout the process has been making the Greek Play more accessible to everyone: from cast to the audience. Making sure the cast understand what they are saying is essential in trying to convey that meaning to an audience who, in many cases, have never heard the language before – let alone tried to follow a play. Refining the action to its core elements and allowing the actors to set the scene for the audience has required a lot of concentration and motivation from the cast themselves. While trying to maintain a traditional element to the play – you won’t find any zany, off-the-wall ideas in this production – I was keen to use modern elements to engage an audience. The set design was simple but striking and the costumes were traditional with modern slants. With all this in place, there was a final executive decision to be made: whether to show Helen’s face – ‘that launched a thousand ships’ – or not? This is an eternal question for those directing a play in which Helen (the epitome of beauty) features. I made my decision relying on the saying: “beauty lies in the eye of the beholder”.
Adam Gibb, Director
From my experience of the Greek Play last year I was keen to get involved again and this time, being a part of the production team has been just as rewarding. We have a great cast and crew who have been working hard from the beginning. I very much look forward to seeing the final production.
Roseanna Long, Assistant Director
When Adam asked me to be Producer I was excited by the challenge ahead and this has definitely been a challenge! Never before have I had to learn so many new skills in so short a time but it has been well worth it. Adam had the idea that the play should have a Hollywood feel to it with a glamorous, golden appearance, so we have tried to achieve this without letting it (literally) outshine the cast. We were also given a list of his ideas for the set, some of which have been conveniently ’lost’ on the way to the final design, but what is left is an impressive atmosphere fit for a king! This has been a brilliant and thoroughly enjoyable experience, which has only been made possible by the enthusiasm and dedication of the team, in particular, my Assistant Producer Ros, who has taken on a large amount of the work. The whole production team has been working tirelessly to put together the set and costumes, with frequent changes to their instructions, and our lighting and sound technicians have had to learn their trade from scratch! As always with the Greek Play, the cast and crew have come together as a close group and if we take nothing else away from this experience but our new-found friendships, it will still have been well worth it!
Naomi Pine, Producer
When I decided to take on the role of Business Manager for the second year running, it was due not only to the prospect of developing worthwhile skills such as marketing, sales and budget management further, but also to the profound sense of satisfaction that comes at the end of the entire process. To take on the role of Business Manager is to play a small but fulfilling part in promoting Classical theatre within the university, the academic world, and beyond, and to be involved in a long-established yet incredibly exciting tradition. And of course, the frequent heated debates, mostly regarding that eternal question, “How gold can we go?”, will provide much cause for nostalgic laughter once the chaos is over.
Alex Wood, Business Manager
Acknowledgements The Greek Play Team would like to thank the following for their support: Claire Curl, Departmental Secretary Michael Broderick, Departmental Administrator Mixam, for their very speedy and good value programmes and promotional material Cally Brown and her colleagues at the Alumni Office Lorna Robinson and Graham Kirby at IRIS Magazine Christie and John Hoggarth for their acting workshop with our cast The Classics Faculty staff, who helped coach our cast in their Greek pronunciation Catherine Trigg, Theatre Manager at the Greenwood Fay Rance, for her repeated generous donations Bettany Hughes, our guest lecturer Michael Trapp, for his accompanying talk and contribution to the programme And many thanks to our regular customers who attend the King’s College London Greek Play year on year. We hope you continue to enjoy our productions in the future.
Why did you audition for the Greek Play?
Katie Lathan
1st year Classics, Chorus:
Why? Well, it did seem like a good idea at the time...No, really, it’s been great fun – pretending to be a wizard/dwarf/ giant during rehearsal warm ups have been the best :)
Naomi Ackerman
1st year Greek with English, Chorus:
I heard about the Greek play before I came to King’s, and thought it sounded crazy but amazing. So when I got here I signed up!
Florence Wright 1st year, Chorus:
Like all freshers, when I arrived at King’s I was bombarded with hundreds of opportunities in different societies, but the Greek Play sounded the most interesting – despite the demanding ancient Greek aspect!
Alice Chatelain Classics and Comparative Literature (study abroad student), Chorus:
The Greek Play is an extremely interesting and exciting experience. It’s wonderful to hear ancient Greek coming to life, and a great opportunity to enjoy my time at King’s in a relaxing and friendly atmosphere.
Violetta Buono Chorus:
I joined the Greek Play because I was excited to be involved in reviving a literary tradition that’s 2500 years old, and also to be part of the history of King’s College, as well as making friends in the process.
Anna Rallison 1st year Classics, Chorus:
I joined the Greek Play to have an authentic experience of ancient Greek drama – gold body paint notwithstanding.
Claire Harbourne 1st year Classics, Chorus:
I got involved in the play because I’m really interested in Greek tragedy, and the prospect of performing in one sounded fun. I’ve really enjoyed the rehearsals, working with like-minded people.
Why did you audition for the Greek Play?
Emily Dunn Chorus:
I have really enjoyed being a part of the Greek play and hope it will give me a unique edge for my drama school applications.
Helen Ashton 2nd year Classical Studies, Chorus:
I joined the Greek Play because I heard positive and enthusiastic reports about last year’s performance. The rehearsals have been the most enjoyable part and it’s been great to do something Classical outside my studies.
Lucinda Lycett 1st Year Classical Studies, Chorus:
I auditioned for the Play because it was a great means of practising my Greek. It’s a really good way to meet a load of fabulous people and enjoy yourself.
Georgia Crick Collins 1st year Classical Studies,
Helen:
The Greek Play tradition at King’s was something I really admired – to be a part of such a unique event is really exciting. Plus it makes me more of a Greek geek, and I get a free spray tan.
Andreas Andreou 1st year Classics, Theocylmenus:
As a Greek, it turned out to be hard to learn and pronounce the language in a different way. Did I manage it? You be the judge...
Andrew McHale 1st year Ancient History, Dioscuri:
I would never miss a chance to liven up Classics in costume, so Greek Play was for me.
Leya Amir-Alikhani, 3rd year Classical Studies with
English, Old Woman:
I’m honoured to have been a part of the Greek Play three years running, and wish to congratulate Adam and Roseanna for doing a fabulous job. I leave the Greek Play with these immortal words - οιμοι, νε δια ταλαν!
Why did you audition for the Greek Play?
Benedict Sharrock
Piers Butel 1st year Classics, Dioscuri:
I decided to do the play because it’s such an interesting opportunity. And I heard I was going to be painted gold. And Georgia made me.
Rosie Wild 1st year Classics, Messenger:
I decided to do the play because I heard there would be free snacks and wine at the auditions. There were.
Alice Chatelain Classics and Comparative Literature (study abroad student), Chorus:
The Greek Play is an extremely interesting and exciting experience. It’s wonderful to hear ancient Greek coming to life, and a great opportunity to enjoy my time at King’s in a relaxing and friendly atmosphere.
Ben Donaldson 2nd year Ancient History, Menelaus:
Having played Xerxes last year, I thought I’d fulfilled my obligation to the Greek Play. Unfortunately, at last year’s summer party Adam got me drunk and made me take this part. The character of a shipwrecked sailor is very near to my heart as I train with the University Royal Naval Unit, when not mired in Greek gibberish, where I am considered by my shipmates to be dangerously incompetent.
Charlotte Collard 1st year Classical Studies with
English, Messenger:
a) Georgia made me b) I had no friends, and thought I’d make more c) Thought it would be character building d) The male cast members aren’t bad looking. It’s been stressful – but well worth it!
The Greek Play Archive
The Classics Department at King’s College London has, uniquely for a British university, staged an ancient Greek drama in the original language every year since 1953. Over the decades an interesting collection of paraphernalia has been accrued, from blood-stained armour to peacock feathers, from countless Greek sandals to various phallic objects, most of the latter courtesy of 2009’s Lysistrata. As well as these accoutrements we have amassed marketing material and details relating to the cast and production of past performances. The material was mostly catalogued by two interns over the summer of 2007. Some of this, including itineraries of the US tours in the 1980s, is available online at: http://www.kcl.ac.uk/schools/humanities/depts/classics/about/ play/archive There is additional material kept in the Classics Department. In the past scholars have requested access to this as part of research into the modern reception and production of Greek theatre. Please direct queries to greekplay@kcl.ac.uk
London Summer School in Classics 2011 University College London Tuesday 5 July to Thursday 14 July 2011 Â
The Summer School offers eight days of intensive teaching in Greek and Latin. There are four language classes each day as well as lectures and a debate, between 10.30 a.m. and 4.30 p.m. The fee is ÂŁ85. The course is not residential, and there is no teaching on the weekend of 9-10 July. Travel grants may be available for certain categories of student Students will be assigned to teaching groups of normally not more than 12-15 people. As far as possible, groups for each language comprise students of roughly the same level of experience (beginners, intermediate or advanced). The style of teaching is friendly, but demanding: a lot of work is expected from students during the School, but they usually find the whole experience both stimulating and valuable. Some classes concentrate chiefly on reading texts, while others offer a mixture of grammar and translation practice. Our tutors include some of the most experienced and talented teachers of Classics in the London area and beyond. The Summer School in Classics caters for a wide range of interests. In recent years, we have had substantial numbers of students from both schools and universities, but also mature students who wish to learn Greek or Latin, or to revive their knowledge of the languages. Our principal concern is to provide a thorough programme of language learning in a lively university environment. For application forms please visit www.ucl.ac.uk/GrandLat/sumschool, and for enquiries, please contact: The Secretary London Summer School in Classics Department of Greek & Latin University College London Gower Street Tel.: 020 7679 7522 London WC1E 6BT Email: classicsoffice@ucl.ac.uk Closing date for applications is Wednesday 1 June 2011
The King’s College London Greek Play is staged annually in February. If you are not already on our mailing list and would like to receive information about future productions (we will only contact you about the Greek Play), please leave your details with the Team or contact the Greek Play Office: 02078482399 greekplay@kcl.ac.uk Greek Play Office Classics Department King’s College London Strand London WC2R 2LS