Phédre production worthy

Rare classic play by Jean Racine tackled by Soulpepper

Phèdre contains all the elements of the daytime television soaps that continue to captivate audiences everywhere. There is lots of jealousy, a mother in love with her stepson, a son in love with a woman he is forbidden to marry, and a father who is trumped by a scheming servant into disowning his son and finding out too late that he has been wrong all along.
Jean Racine based his play upon Hippolytus, written by the great Greek tragedian Euripedes some 2,000 years prior. The former British Poet Laureate Ted Hughes translated Racine's play into English and the Soulpepper Theatre Company is presenting it currently in the du Maurier Theatre Centre at Toronto's Harbourfront.
Phèdre is the second wife of King Theseus of Athens who has been away for some time. In his absence Phèdre admits to her stepson Hippolytus that she is in love with him. Hippolytus is horrified and rebuffs his stepmother's advances. He is in love with Aricia, only survivor of the original Athenian ruling family that Theseus had driven out of power. Unexpectedly, Theseus returns. Phèdre is afraid that her husband will find out about her incestuous love and so concocts the story that it was Hippolytus who made advances to her. Theseus believes the story, banishes Hippolytus, finds out the truth and repents. Alas, it is too late. Hippolytus is dead. Phèdre loses her mind and eventually, like Cleopatra, commits suicide.
Phèdre is a role that actresses have long considered the greatest woman's part ever created. Fortunately, Nancy Palk is up to the challenge. It is mesmerizing to watch her as she goes from love-sickness to fear, anger, hatred and finally complete deterioration, somewhat like Lady Macbeth.
Jonathan Watton is not as convincing in his role of Hippolytus. He is too lightweight, almost like a teenager, and while his love scenes with Aricia are fairly convincing, his outrage at Phèdre and his father lack conviction. Diego Matamoros is a powerful Theseus, commanding the stage even when sharing it with Phèdre.
Yanna McIntosh is a believable Aricia but is not given enough dialogue to permit her to exploit her talents until toward the end of the play.
Tanja Jacobs is the scheming Oenone and Kate Hennig along with Patricia Fagan play the household attendants. They are reasonably comfortable in their roles but not as commanding as they should be, particularly Oenone.
Among the men, my vote for the best performance goes to William Webster for his portrayal of Théramène, to whom the others turn as a trusted supporter. Mr. Webster was even able to describe without flinching the ridiculous story of Hippolytus' death as victim of a monster rising from the sea.
Daniel Brooks could have given his performers some more imaginative moves than he has, particularly the attendants. However, he has brought out the play's mood perfectly. He has been aided by an excellent setting by Dany Lyne with particularly fine lighting by Andrea Lundy and music by Richard Feren. Few theatre companies will tackle this play so theatregoers should see it while they have the chance.
Phèdre plays at Harbourfront's du Maurier Theatre Centre until August 16. Tickets are available by calling the Harbourfront Box Office at 416.973.-4000.
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Publication Date: 2003-08-03
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