MvVO Art Launches AD ART SHOW
Off Broadway

The Bacchae: Fierce and Uncompromising, Nothing to Condemn

The Bacchae: Fierce and Uncompromising, Nothing to Condemn

The Classical Theatre of Harlem presents Bryan Doerries’ new version of The Bacchae by Eurpides in Marcus Garvey Park. Doerries’ adaptation brings the tragic story of Dionysus and Thebes straight into the heart of Harlem; and it highlights the current social and political climate in smaller ways – the obsession with celebrities and social media – and in larger ways – the constant struggle between chaos and order, believers and non-believers, the old and the young, wisdom and foolishness, violence and compassion. Under the direction of Carl Cofield, the cast and theatrical elements come together to create a fierce production that knows exactly what it’s about.

The performance begins with Dionysus (Jason C. Brown) disguised as a mortal, Preacher D. Depicted as an androgynous rock star, Dionysus tells the chorus that he has come to his birthplace of Thebes to establish himself as a god worthy of worship. The challenge he faces is that the house of Cadmus (of which he is part) denies his divinity. While The Bacchettes, a chorus of fangirls/backup singers for Dionysus, sing his praises in Thebes, Dionysus drives several women to the mountain where they become Maenads. The old king Cadmus (Charles Bernard Murray) and the famous seer Tiresias (Brian D. Coats) decide they will worship Dionysus, but King Pentheus (RJ Foster) denounces their wisdom as foolishness. He orders that Preacher D be arrested. When Preacher D is brought to Pentheus, he tries to convince him that he should worship Dionysus. After speeches and divine displays of power, Dionysus persuades Pentheus to go up the mountain where he meets a tragic end.

Jason C. Brown and RJ Foster are a force to behold on stage as individuals, and as scene partners they are what makes this production a power house. Charles Bernard Murray and Brian D. Coats are also well paired as the older and wiser characters. While there isn’t a single actor here who isn’t worth their salt, Andrea Patterson shines brightest in her short time on stage as Aguae, mother and murderer of Pentheus. Her crazed speech is delivered with fire and the physical movement she uses in Aguae’s discovery is real and heartbreaking.  

Tiffany Rea-Fisher’s choreography feels ethereal, sexual and sharp all at the same time. The dance ensemble, made up of members of the Elisa Monte Dance Company, is omnipresent. The chorus and ensemble sing Frederick Kennedy’s compositions beautifully, most notably Gabrielle Djenne, who also creates a journey that is intriguing and contrary to the rest of her cohorts. Musician Alicyn Yaffee, as part of the chorus, drives the musical language of the piece, setting the mood from moment to moment.

Lex Liang’s colorful costume design creates a punk rock tribe of Bacchettes, while also calling to the Greek roots of the play with several toga like pieces for the more conservative characters. The industrial scenic design by Christopher and Justin Swader evokes the setup of a rock concert with dynamic lights (Alan C. Edwards) and provocative projections (Katherine Freer), yet it feels empty without humans. It makes its own statement in the play.

The Chorus and dancers from Elisa Monte Dance in The Bacchae. Inspired by Bryan Doerries’ new version of Euripides’ classic Greek tragedy. Scenic Designers: Christopher & Justin Swader. PHOTO CREDIT – Richard Termine

There is absolutely nothing to criticize about this incredible, thought provoking version of The Bacchae by Bryan Doerries. The stunning spectacle is married to the vengeance, chaos and fear of the story and leaves the audience to contemplate who is right and who is wrong.

The Bacchae, Classical Theatre of Harlem, The Richard Rodgers Amphitheatre @ Marcus Garvey Park (located between 120th and 124th streets and Madison Ave. and Mt. Morris Park West). Closes July 28. Free and open to the public.

Info: https://www.cthnyc.org/summer/

Off Broadway
@Jimenez824

Virginia Jimenez is a writer, dancer and teaching artist in New York City. She teaches for various companies focusing on dancing for musical theatre, ballroom dancing, theatrical skills and story building. Bringing arts education to students in NYC is incredibly rewarding for her because she is passionate about arts integration and using the arts to facilitate an emotional education. As a writer, Virginia believes in the power of words and stories to challenge and encourage audiences to seek growth and modes of expression. She likes tequila and ice cream - though not necessarily together. www.vmjimenez.com

More in Off Broadway

Two Stars Rise Up to Queen Status Playing Different Types of Royalty: Tina and Evita

RossNovember 18, 2019

New York City Center’s Evita is Rainbow High

Suzanna BowlingNovember 16, 2019

Fires in the Mirror: Crown Heights, Brooklyn and Other Identities

Suzanna BowlingNovember 16, 2019

We Will Rock You Comes To Madison Square Garden For Just Four Days and We Were At The Meet and Greet

Suzanna BowlingNovember 15, 2019

He Says: Public Theater’s The Michaels Expands the Rhinebeck Road with Panoramic Dance, Luckily.

RossNovember 15, 2019

The Tank presents BrandoCapote Intriguing my Mind, but not Satisfying my Soul

RossNovember 15, 2019

20, 40, 50 Years Len Cariou and Craig Bierko Celebrate What Those Numbers Mean As They Get Ready To Open Harry Townsend’s Last Stand

Suzanna BowlingNovember 14, 2019

Last Chance To Still See Still Getting My Act Together At The York

Suzanna BowlingNovember 13, 2019

He Says: Transport Group Drives the Bus Forward with Pride All the Way to Broadbend, Arkansas

RossNovember 12, 2019