Never have the worlds of politics and theatre appeared as closely related as in the fictional land of Thebes. Richard Eyre’s production at the National Theatre this summer fuses Greek mythology and West African politics, in its sensitive exploration of the forces that drive individuals and societies alike. Power, frustration, fury and hope run through this production in flaming torrents, and a talented and diverse cast make the play well worth a look. 

"The production does a convincing job of fusing classical and modern, Greek and West African, prompting chuckles from both older and younger generations in the audience (at different points of course, depending on whether your thing is Oedipus gags or south London rude boy inspired soldier characters... )."

The scene is set in the land of Thebes; where warriors walk among the wreckage of a classical building, listening to the sounds of helicopters flying overhead, wielding their guns disconcertingly at the audience. At the election of its first democratic president in a decade, Thebes is a society in reconstruction. Everything from the state’s infrastructure to its political system must be reformed and rebuilt after the devastating effects of a brutal conflict.

So how exactly do you resuscitate a society that has suffered such trauma and violence? “Your war is over. Now improve yourselves!” President Theseus, the swaggering powerhouse and leader of the neighbouring Athens, booms from the podium during his visit to the country. As it happens, this democratic transition stuff is a pretty difficult business, and the new Thebean government are faced with a hefty challenge.

All in all, the play is perceptive and original, incorporating a multitude of political issues that are massively relevant to our society today; from arms manufacturing to debt relief, via a complex maze of political alliances, backstabbing and broken promises. The production does a convincing job of fusing classical and modern, Greek and West African, prompting chuckles from both older and younger generations in the audience (at different points of course, depending on whether your thing is Oedipus gags or south London rude boy inspired soldier characters... ).

Particularly strong are the performances from Eurydice and Theseus (played by Nikki Amuka Bird and David Harewood) and the relationship between the two leaders is an important part of the narrative. Theseus is like Obama on steroids (LOTS of steroids...) and the dynamic between him and Eurydice is an exploration of the conflict between one nation that is powerful and self interested, and another, who relies on its support and approval.

The play is styled in order to put a modern spin on classical legacies, and the Athenian government officials consequentially look like what you’d get if you put the cast of ‘Men in Black’ with the average bloke strolling down London’s Bishopsgate and mixed them up in a blender. This army of suits, thoroughly modern and cockily assured, provide a strong contrast to the Thebeans - a powerful collective of headstrong women decked out in traditional West African clothes. The Athenians swagger around convinced of the merit of their own ’civilised’ society; after all they fight with computerised bombs, not machetes.
 
‘Welcome to Thebes’ kicks off a diverse series of plays at the National this summer, and is well worth a look; it’s packed with quick-witted dialogue, and just the right mix of comedy and tragedy.

The play offers its fair share of wisdom when it comes to politics and philosophy; drawing the audience’s attention to the concerns that drive national and civil conflict regardless of time or place. In the West and in developing nations, in modern society and the ancient world, on stage and off, most of our human battles are driven by the gods of power and profit.

Words: Eva Baker

For more information on Welcome to Thebes and to book tickets, click here.