Jo Caruana meets Toni Attard to discover how 2,000-year-old myths, like that on which the upcoming production of The Bacchae is based, are revealing their relevance on the local scene today.

Director Toni Attard is visibly buzzing as we meet to discuss his latest theatrical endeavour – a contemporary adaptation of The Bacchae, being produced by the MADC later this month.

The Bacchae shows how, whether it is religion, politics or a new cult following, you cannot control the workings of bacchanalia

“I was thrilled when the MADC contacted me about this play,” he enthuses.

“The Greek myths are easily some of the best stories ever written, so full of emotion, beauty and applicability; I couldn’t wait to embrace the challenge.”

And embrace the challenge he has, choosing to go all out on David Greig’s contemporary adaptation of Euripides’ catastrophic tale, originally penned for production by the National Theatre of Scotland in 2007.

The language is modern, al-though the lyrical and deeply poetic elements of Euripides’ original script have also been retained.

The story follows Dionysos (to be played by Kurt Castillo), the hedonistic god of wine, who returns home to demand worship from the local people and clear his dead mother Semele’s name who had been banished from Thebes by reigning king Pentheus (Philip Leone Ganado).

Pentheus’ grandfather Kadmos (Manuel Cauchi) and Teirisias (Paul Portelli) the old blind seer, are both in favour of accepting Dionysos.

“Dionysos is accompanied by his Bakkhai – his maenads or groupies, presenting a powerful force to be reckoned with, and one that is hard to ignore,” continues Attard.

Together they worship him and perform sensual rituals with a fierce, animalistic devotion. In doing so, Dionysos unleashes his feminine sexuality on the city and destroys social order.

Eventually, Pentheus’ desire to see what goes on atop the hill where they worship gets the better of him. Pentheus’ mother Agave (Pia Zammit) also participates in a bloody orgy.

The six Bakkhai, played by Laura Best, Coryse Borg, Nicola Abela Garrett, Maria Pia Meli, Veronica Stivala and Marta Vella, also serve as the chorus.

“They are the commentators as well as the voice of the people,” continues Attard, who explains that the actresses have been steadily working on the varying aspects of their performances for over two months.

“They evocatively sing, speak and dance their way through the space as the story plays out. They are the glue that holds the whole piece together. It is very demanding, as all six have to work very intri-cately together, while also developing their individual nuances and characteristics.”

Looking at the details of the production, it is clear that this is a very holistic show. No stone has been left unturned, from the beautiful and original soundtrack composed by Alex Vella Gregory, to the truly dynamic set, which works on so many levels:

The set merges contemporary staging that reminds one of a pop concert, with the rich tradition starting from Greek times. It also cleverly incorporates a local touch and has references to village feasts.

Indeed there are many parallels to be made between Greek life 2,000 years ago and Maltese society today.

“The Bacchae mirrors modern society in so many ways,” continues Attard.

“It shows how, whether it is religion, politics or a new cult following, you cannot control the workings of bacchanalia. Also, society needs it to be there; it is completely integral to our culture and beliefs.”

This is a story about family and its destructive relationships, about the rational and structured versus the irrational and free, and the power struggle between man and woman.

“It may seem very complicated, but it really isn’t,” smiles Attard. “It’s just a wonderful, engaging story that still has a fantastic role to play.

“The audience will doubtlessly enjoy the movement and music, and will form associations with one character or another. Meanwhile, the emotions of the show are constantly shifting between sorrow, humour and anger, and those watching are free to react in any way they want.”

Echoing Attard’s beliefs about the ongoing bearing of the story, writer Greig explains why he chose to craft an updated version of it. “Whenever a Greek tragedy is revived today, the question is asked: ‘Why now?’

“For me, Euripides’ concerns are as relevant in 2011 as they were over two millennia ago. There are still men who control women in order to bolster their shaky sense of self. There are still men who are lost because they refuse to lose themselves in dance. And so we still live with the psychotic and uncontrolled violence that will appear whenever a repressed Dionysian force reasserts itself – as it always will.”

The show will be staged on October 21-23, 28-30 and November 4-6. Tickets can be bought from www.madc.biz. Learn more about the show from the blog http://madcthebacchae.blogspot.com .

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