IPHEGENIA

Arcola Theatre

★★★

“an engaging adaptation that brings the classic text closer to us in the modern day”

Director and adaptor Serdar Biliş says that he wishes to blend fiction with reality and ask piercing questions, especially during a time when one war breaks after another. And what better play to discuss it with than Euripides’ Iphigenia, translated by Stephen Sharkey, who is famous for adapting classic texts into stories that concern our contemporary experiences.

Euripides was famous for focusing his tragedies around the victims of war, usually women, and taking war off the pedestal, he portrayed it for what it really is: bloodshed, pain, loss, not a glittering opportunity for power, conquer and glory. Iphigenia is the eldest daughter of Agamemnon, king of Mycenae and chief commander of the war against Troy. Before the expedition begins, the oracle says that for the wind to blow and for the ships to be able to sail, Agamemnon has to sacrifice Iphigenia; he needs to choose between his own flesh and blood and an army that expects him to lead.

In this adaptation, there’s a merge of the original storyline with interviews of real women who talk about the father’s role, parenthood and war, sharing stories that make our skin crawl and our eyes tear up. Shown in video projections designed by Enrico Aurigemma, the rawness of these experiences shifts the focus towards those whose suffering is often overlooked, as well as reinforces the anti-war message that Biliş wants to convey. Something similar is attempted by the actors breaking character to narrate their own family narratives. It’s not as efficient compared to the projected interviews and it feels slightly forced, occasionally breaking up the pacing of the scenes.

The cast consists of an incredibly strong trio. Simon Kunz, Agamemnon, is exemplary, as he manages to hit all the marks of the king’s decision making, doubt and eventual giving in to the glory of war against his wife’s threats, his daughter’s imploring and his own father instincts. In the opening, he comes onstage as an actor and does a pre-set intro which, though a playful way to provide the exposition, is such a cliché and overdone, but Kunz’s energy and smooth comedy skills warm you up to it.

Indra Ové, playing Iphigenia’s mother Clytemnestra, is a sight to behold. She’s graceful, yet powerful, like a queen ought to be, and fights for her daughter’s life like a lioness. Confronting Agamemnon and using any tactic she can to dissuade him from sacrificing Iphigenia, Ové shows an incredible range that sets your heart ablaze.

Our titular character is played by Mithra Malek, whose sweet and calm presence complements her parents’ fiery interactions. Her most important moments are overlaid with the live singing by musician and composer Kalia Lyraki, which doesn’t allow Malek to fully reach the audience. Lyraki is a beautiful addition, her live music adding to the emotional depth to a mesmerising degree. And it’s so touching to have a Greek creative as part of the team. However, it does distract from Malek’s performance, so it’d be better if the monologues and singing didn’t coincide.

Lighting designer Catja Hamilton handles the changes in the tone, narration and the jump between actors speaking versus characters speaking efficiently, yet allowing for a creative vision to come forth. Playing with hints of blue, swift blackouts and warm undertones, she makes the story clearer, in a subtle way that doesn’t take away from what’s happening onstage.

One of the weakest points is surprisingly the finale, when the sacrifice takes place. The plain miming and simplistic movement used while Agamemnon explains to Clytemnestra what happened to their beloved daughter, makes the moment feel unconvincing and doesn’t take a clear path either towards the rage caused by the atrocity of the situation or towards the miraculous and absolving nature of Iphigenia’s actual fate.

Nevertheless, it’s an engaging adaptation that brings the classic text closer to us in the modern day. Circling around family ties and clashes and supported by an excellent cast, Iphigenia comes at a perfect time to remind us to choose humanity and love over ideals that serve no one, but those who are in power and abuse it at our expense.

IPHEGENIA

Arcola Theatre

Reviewed on 13th April 2026

by Stephanie Christodoulidou

Photography by Ikin Yum

IPHEGENIA

★★★

“a heart-warming story about past and present coming together”

Balancing Act first came to be in 2001 and they have been around long enough to know how to create a world full of colour, humour and deep connections onstage. It’s clear that this company knows how to touch on people’s emotions in a gentle, almost respectful manner. ‘The Murmuration of Starlings’ is one of those shows that doesn’t attempt to achieve too much, but instead offers a pleasant, if not bittersweet at times, evening that will encourage its audience to interpret the story, and its meaning, as they see fit.

Man and Woman return from their walk and talk about what kind of soup they’ll have for lunch. Everything feels calm and normal till Man encounters Boy and together they try to decipher the entity, the predator, who seems to be disturbing the peace, while attempting to protect what’s most dear to them. But is the predator what they think it is? And why does time seem to tangle and go many different directions instead of forward?

The cast of four come on and go off the stage quietly, yet surely, in an almost magnetising manner. There is some lovely chemistry and each one of them bring a relatable and grounded air. Man (played by Steve Hay) and Boy (played by Jonny Dagnell) bounce back and forth with their almost ADHD energy full of interesting twists and turns. Everything they talk about becomes fascinating and balance Man’s maturity with Boy’s childlike enthusiasm perfectly. Jenny Johns is great as Woman, the voice of protection, reason and care, while Jennifer Barton as Girl feels a bit too staged, as if trying to remind the audience that she comes from a different era.

Joe Graham, writer and director of the show, focuses on imagery and riveting dialogue, selecting just the right amount of themes and ideas to move forward with the plot, rather than overdoing it as it happens with quite a few shows that choose messy quantity over quality. Having said that, the script does feel like, at times, it’s losing its way to the point of rambling before returning back to what is actually happening onstage.

The set is neat and highlights the colours red and blue to attract the audience’s attention. Crates are smartly used as chairs, fortresses, shelves or as a means to demonstrate the characters’ emotional state. Also, a set of projections in the background add an extra flair, especially when all the different entities, birds and predators, and locations, woods and bus tops, are mentioned, which helps maintain a level of visual variation.

It’s a heart-warming story about past and present coming together and merging into an adventure that at times feels a bit fragmented. However, it does reveal a compassionate and tender perspective on human relations and how personal battles sometimes need to be shared in order to be won.

Tag Archives: Stephanie Christodoulidou

IPHEGENIA

★★★

Arcola Theatre

IPHEGENIA

Arcola Theatre

★★★

“an engaging adaptation that brings the classic text closer to us in the modern day”