A young girl stands at the altar. A nation holds its breath.
Blending the brutal beauty of ancient tragedy with voices of today, this bold new production replaces the traditional chorus with filmed testimonies from women across cultures, interwoven with live contemporary folk music that bridges East and West. The testimonies – raw, intimate and fiercely honest – reflect on motherhood, loss, duty and war, reframing the myth for a modern world and offering a powerful counterpoint to a story shaped by the decisions of men.
A story of sacrifice, parenthood and the human cost of war – then and now. Tickets here.
Iphigenia is caught in a war she did not choose; what drew you to exploring her agency within such an impossible situation?
The thing about Iphigenia is she’s completely powerless when it comes to the circumstances of the play: she has no authority over her fate. But what’s interesting is the ways she tries to find her own agency within these circumstances she has no control over. She goes from begging her father for her life, to reconciling with the fact that she can’t change his mind, and trying to find her own power in the fact that she is being sacrificed, stating how she refuses to go to her death like a ‘coward’, That’s very interesting to explore as an actor, how she is able to totally reframe situations with such conviction.
Having worked extensively with Shakespeare, how did stepping into the heightened world of Greek tragedy reshape your approach to language and emotion?
It’s a good question and something I’m still exploring/thinking about. But, at its core, it’s all about trusting the language and letting it guide you, and really considering the meaning of each word.
This production weaves real testimonies from mothers affected by war into the myth; how does that contemporary layer change the way you think about Iphigenia’s story?
What’s fascinating about working on an Ancient text and weaving modern day testimonies is it really shows how little has changed in terms of the circumstances people find themselves in, in terms of war and loss (which always seem so pointless). We never really learn or change when it comes to these things. At the same time, it’s also remarkable how, on a human level, humans today are experiencing the exact same emotions they were thousands of years ago. I always find it interesting the way the human experience, specifically in terms of love and connection, feels so consistent.
Iphigenia’s fate is decided by forces far beyond her control; what have you discovered about her strength or complexity while preparing the role?
Like I mentioned above, what’s interesting about Iphegenia is the way she tries to find her own power in a situation in which she is completely powerless. That resolve is always a gift to portray as an actor.
You’ve moved between screen work like Anatomy of a Scandal and classical theatre; what keeps drawing you back to these epic, demanding texts?
I think these classical roles keep coming back to me! The feeling is mutual. I love words, and feel I have an affinity with the language in these texts, which just came naturally to me. I honestly find rich language much easier to work with. People think of classical texts as being harder but I think that’s a myth.
For audiences encountering Iphigenia today, what do you hope resonates most strongly about her story?
I hope people leave the play thinking about the power we have as people. We watch these ridiculous and wild circumstances happening over and over again, and ask how. It’s because people just accept it, and we need to be reminded of our own power and how important it is to not just stand by. But of course, this can sometimes be difficult.