Ifigènia, Teatre Lliure Barcelona Review
Review by Laura for Theatre and Tonic.
Disclaimer: Gifted tickets in exchange for an honest review.
Trigger warnings: Blood, violence
The Greeks are eager to sail to Troy to retrieve Helen, Menelau’s wife, but there is no wind to propel the sails, which they attribute to Artemis’ rage over the destruction of her forest. Iphigenia, daughter of Clytemnestra and Agamemnon, is summoned to be sacrificed by her father to appease Artemis and be able to go to war.
This play is an adaptation of Iphigenia in Aulis and Iphigenia among the Taurians. It deals with themes of violence and its perpetration throughout generations. It also makes an interesting point of comparing a marriage with a sacrifice and prompts the audience to reflect on the women sacrificed throughout history in the name of honor, war, and gods only to propel men’s ambitions. This is beautifully demonstrated by the chorus of sacrificed virgins that serve as narrators, condemners and even specters throughout the story.
One of the strengths of this production is the cast. Emma Vilarasau plays Clytemnestra and Iphigenia with immense talent, portraying them as two very distinct characters. I especially loved Clytemnestra’s arc throughout the first act. Pere Arquillué portrays Agamemnon, a conflicted father and commander of the Greek army, as well as his son Orestes; he delivers some of the best monologues of the show with passion and commendable skill. I must mention the chorus, played by Cèlia Castellano, Daniela Fumadó, Júlia Genís, Laura Roig, and Neus Soler. They speak and sing with one voice, move in sync, and walk as if they are one single body because they all died as sacrifices. Their tunics, blood-red, illustrate their violent deaths.
The costumes by Adriana Parra, illustrate each character’s status without being distracting or too opulent. I loved Iphigenia’s innocent-looking and airy gown, as well as Clytemnestra’s regal but dignified outfit with gold accessories.
The set design by Sílvia Delagneau and Josep Iglesias was fantastic. Teatre Lliure’s stage is huge, wide but also tall and incredibly deep, which allowed most of the characters to be always on stage without the space feeling crowded. The floor, grey ashes, represents the remains of Artemis’ forest. On the walls, red and black banners set the tone for a wedding, funeral, or perhaps a sacrifice?
I was entranced during the whole show, trying to catch every single reaction from the incredible performers that occupied the corners of the stage. I especially enjoyed the first act, in which we see the conflict of Iphigenia’s sacrifice unfold: Agamemnon, distraught but unyielding; Clytemnestra, enraged and determined; Iphigenia, double-edged and melancholic. The second act did perhaps drag a little bit more and had a somewhat strange ending scene that could perhaps have been cut out, but Emma Vilarasau and Pere Arquillué were too fascinating to watch to be uninterested. It felt as if I was watching a National Theatre Shakespearean tragedy!
Ifigènia is an impeccable production that focuses on showcasing its themes plainly and concisely through proficient acting and clever staging.
You can catch Ifigènia at Teatre Lliure until the 6th of June.
★★★★★
