Paradise is a modern interpretation of Sophocles's play Philocetetes. Written by the inestimable Kae Tempest, it is a gripping re- telling of the story of a wounded archer stranded on an island. Managing to both honour the qualities of the Greek original whilst presenting it with a modern sensibility and verse style. This was a National Theatre production fronpm 2020, with an all female cast, possessing a great atmosphere and emotional effect.
The play opens with the inhabitants of the island arguing and bitching in general conversation. All have had, at some point, to become resigned to being stranded here. A soothsayer sings a lament, for things returning from the past and omens of things that are about to change. Two soldiers appear on the island, one is Odysseus, the other Achilles's son Neoptolemus. They're here to find and persuade Philocetetes to join a war. They need him, and the bow of Hercules which he possesses, to hopefully bring a long running conflict to an end.
Odysseus is a mean hearted bully, constantly belittling Neopytolemus in order to persuade him to be the one to convince Philocetetes to come with them. Unbeknown to him, Philocetetes was abandoned here wounded on this island by Odysseus himself. Against his better judgement Neopytolemus has to lie or be economical with the truth in order to convince Philocetetes to leave. But it becomes clear that not only does Philocetetes have a festering wound still, but he has this deep grievance to settle with Odyssseus. Left here for dead, he has all but lost his mind and reason to live. Other than revenge.
The islanders watch all this going on, they comment, they interject. Pretty much as your standard Greek chorus would. Odysseus ( Anastasia Hills) and Neoptolemus ( Gloria Obianyo ) fill there roles with great assertiveness and nicely judged nuance. Once Philocetetes (Lesley Sharp) appears the energy on stage changes. I am in two minds about this performance, It was certainly commanding and held the stage, at times powerful and affecting. But it could also be annoyingly one dimensional as a performance. Too frequently it descended into a broadly drawn paper thin male cliche. A 'cor blimey govner' caricature of a bit of a geezer. It felt unbalanced with the general tone of the production, and out of sympathy with the other 'male' performances. Great play, staging and some superb ensemble acting. A shame the central part sometimes felt like an off the peg male stereotype.
CARROT REVIEW - 6/8
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