Written by Bronagh for Theatre and Tonic

Disclaimer: Tickets were gifted in return for an honest review. All views are our own

It all seems a bit extreme. The gods declaring that, because the winds have stopped, the only way to get your fleet to Troy is by sacrificing your daughter. That’s Greek tragedy for you, and this modern retelling of Iphigenia in Aulis shows exactly why if it isn’t broken, there’s no need to fix it. First performed in 405BC, the play explores themes that remain strikingly relevant today, prompting important conversations around gender roles, war, and sacrifice. Iphigenia in Aulis continues to influence modern theatre and literature, with adaptations spanning from the 1700s through to the present day.

Kalia Lyraki opens the production with a haunting musical interlude that weaves throughout the performance, complemented by beautiful vocals. We are then introduced to Agamemnon (played by Simon Kunz), taking a phone call from his son via AirPods and explaining the play’s premise. This opening teeters on comedy and, whilst slightly drawn out, offers an engaging and accessible introduction for the audience. Kunz excels throughout, moving seamlessly between humour and the deep inner turmoil of his character.

The merging of contemporary and ancient elements is handled beautifully, demonstrating how fresh life can be breathed into frequently performed works. The script remains easy to follow, and the injection of comedy is highly effective. Were it not for the gods’ rather OTT demand, this production could comfortably sit in any historical period. It has the potential to draw in new audiences, particularly those who may not have previously considered Greek tragedy as something they would enjoy.

Projections are used cleverly throughout, featuring interviews with women discussing war, family, and their relationships with their fathers. These segments provide a thoughtful interlude to the onstage drama and work well alongside moments where the cast breaks the fourth wall to share childhood stories. The set itself is minimal, with fabric doubling as sails and benches moved around as needed. The projections are stand out as the production’s most effective visual element.

Mithra Malek is a force of nature in the role of Iphigenia, embodying the grace and poise of an ancient Greek princess with ease. Indra Ové delivers a powerful performance as Clytemnestra, her emotional monologues vividly conveying a mother’s anguish and fury at the fate of her daughter.

This production of Iphigenia in Aulis proves that even the oldest stories can feel alive and relevant on the modern stage. The thoughtful blending of contemporary elements with the classical text, combined with haunting music and inventive staging, keeps the show engaging and accessible throughout. Whilst the opening lingers slightly, the overall impact is striking and emotionally resonant. This is a retelling that confidently earns its high rating and is absolutely worth seeing.

Iphiengia plays at the Arcola Theatre until 2nd May 2026.
★★★★

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