The Ophiolite Review: A Family's Battle Over a Dying Man's Legacy
In the realm of ancient Greek literature, contested burials abound, as one character in Philip de Voni's dramatic masterpiece points out. This play centers around a power struggle and cultural clash within a mixed Cypriot-British family following the death of its patriarch.
Aristeia (Lucy Christofi Christy), in 2009 Nicosia, insists on her brother's burial in the Cypriot mountains, a practice rooted in family tradition. Her British wife, Jennifer (Ruth Lass), however, argues for her husband's body to be taken to England, as he expressed in his final wishes. The tension arises from Aristeia's reverence for sacred traditions and Jennifer's emphasis on freedom from cultural rituals her husband did not hold dear. Both women attempt to sway the younger generation: Jennifer's daughter, Penelope (Han-Roze Adonis), and Aristeia's niece, Xenya (Chrisanthi Livadiotis).
The backdrop intensifies the drama, featuring the theft of the interred body of former president Tassos Papadopoulos, symbolizing the legacy of British colonial rule. The clash between these women is further fueled by their differing interpretations of their husband's wishes and the cultural implications.
De Voni's debut play, while ambitious, struggles to fully realize its potential. The characters, though well-intentioned, feel underdeveloped, with some, like Jennifer's second husband, Dominic (Sam Cox), serving merely as plot devices. Penelope, reminiscent of Odysseus' patient wife, grapples with a sense of abandonment, her story intertwining with her mother's guilt. However, the audience may not connect with her or the other characters as deeply as intended.
Directed by Kerry Kyriacos Michael on Cory Shipp's stark traverse stage set, the play offers some effective scenes, particularly the mother-daughter clashes and discussions about love, death, and togetherness. There are also skillfully written moments filled with complex emotions. Yet, the actors' performances do not always match the intensity of these scenes.
Soupy musical interventions, bluntly dictating mood changes, detract from the drama's authenticity. The play's strength lies in its seamless blending of ancient and modern themes, but it feels too static and ponderous, overly focused on intellectual discourse. At over two hours, the play's pace ultimately diminishes its promise and potency.
The Ophiolite is currently playing at Theatro Technis in London until February 22nd. (https://www.theatrotechnis.com/whatson/the-ophiolite)
