The Ophiolite Review: A Family's Conflict Over a Dying Man's Legacy
In the realm of ancient Greek literature, contested burials are a common theme, as one character in Philip de Voni's play points out. This theme takes center stage in the drama surrounding a power struggle and cultural clash within a mixed Cypriot-British family after the passing of its patriarch.
The story unfolds in Nicosia in 2009, where Aristeia (Lucy Christofi Christy) insists on fulfilling her late brother's dying wish to be buried in the Cypriot mountains, a tradition passed down through generations. However, his British wife, Jennifer (Ruth Lass), argues for the body to be taken to England, as she claims was her husband's final wish. This disagreement pits Aristeia's deep-rooted sense of sacred tradition against Jennifer's arguments for freedom from a cultural practice her husband did not value. Both women attempt to sway the younger generation: Jennifer's daughter, Penelope (Han-Roze Adonis), and Aristeia's niece, Xenya (Chrisanthi Livadiotis).
The backdrop of the play features a more public sacrilege, as the body of the former president, Tassos Papadopoulos, has been stolen. The legacy of British colonial rule also looms between the two warring women.
This play has the potential to be a charged drama, reminiscent of Antigone, with a tense standoff between Jennifer and Aristeia as the will is read. However, the execution falls short. De Voni's debut play is ambitious, exploring complex ideas about our relationship with the dead and the intersection of belonging, culture, and land. Yet, the characters feel underdeveloped, with some barely serving a purpose, like Jennifer's second husband, Dominic (Sam Cox), who is merely a plot device.
Penelope, echoing the patience of Odysseus' wife, Penelope, also grapples with a sense of parental abandonment, making her story intertwine with her mother's responsibilities and guilt. However, the audience doesn't connect with her or any other character as deeply as they should.
Directed by Kerry Kyriacos Michael on Cory Shipp's stark traverse stage set, some scenes are effectively delivered, particularly the clashes between mother and daughter and Jennifer and Dominic's discussions about love, death, and togetherness. There are also skillfully written scenes filled with complex emotions. Nonetheless, the actors don't fully capture the essence of these scenes.
Unnecessary musical interventions, bluntly dictating mood changes, give the drama the feel of a TV melodrama. The play excels in seamlessly blending ancient and modern elements, but it feels too static and ponderous, too much of a discussion of ideas. At over two hours, the play's promise and impact are ultimately slowed down by its pace.
The Ophiolite is playing at Theatro Technis in London until February 22nd. For more information, visit https://www.theatrotechnis.com/whatson/the-ophiolite.
