Reviewed by Judy Richter
American Conservatory Theater audiences have a chance to see a rarely performed
17th century French classic, Jean Racine's "Phèdre,"
in an approachable 21st century translation and adaptation by Timberlake
Wertenbaker. They also have a
chance to see actors from Canada's distinguished Stratford Shakespeare
Festival, where ACT artistic
director Carey Perloff directed
it last summer. Now she has brought all of the principal actors as well as the
design team to her own theater. The result is intellectually interesting if not
always emotionally engaging.
The plot
revolves around Phèdre (Seana McKenna), wife of Theseus (Tom McCamus), king of Athens, who has been absent for six months. He has left
her in the care of his son -- her stepson -- Hippolytus (Jonathan Goad). Hence he has put his wife in close proximity to
the young man she has been trying to avoid because she's in love with him. In
other words, she harbors both incestuous and adulterous thoughts that have caused
her emotional and physical anguish. For his part, Hippolytus loves Aricie (Claire
Lautier), member of a family that
has been enemies to Theseus. Believing Theseus to be dead, Phèdre confesses her
love to Hippolytus, who's appalled. When she finds out about his feelings for
Aricie, jealousy rears its head. Oenone (Roberta Maxwell), Phèdre's nurse, with Phèdre's approval, tells
Theseus, who has unexpectedly returned, that Hippolytus has lusted after his
stepmother. Thus Theseus turns against his son. This being tragedy, nothing
ends well.
Despite some
fine acting, especially by McKenna and McCamus as the queen and king and by
Maxwell as Oenone, there's a static feeling about this production. It's not
helped by Goad, who shows little passion as Hippolytus.
Dominated by
woven wire columns and accented by James F. Ingalls' lighting, the scenery and 17th century costumes
are by Christina Poddubiuk.
The contemporary music is by David Lang.
Despite its
centuries-old origins in ancient Greece and 17th century Catholic France, the
characters and plot of "Phèdre" could -- with updating -- find
themselves at home in today's society, where lust, jealousy and guilt have
never been totally tamed.
For
More Information
Return to Home
Page