When I saw the title of the play ‘Iphigenia in Splott’, I must admit that it didn’t appeal to me at first. I was unfamiliar with the name ‘Iphigenia’ and even though I live in Cardiff, I confess I don’t know much about this area, but I know enough to acknowledge that it does not have the best reputation. It could be argued that the backbone of any form of art is to challenge perceptions and encourage us to question our identity. I am therefore so glad that I did make the effort to see it. It is truly a breath of fresh air.
Monologues are always to be commended for the ability to sustain an audience alone, but the portrayal of ‘Effie’ by Gary Owen offers so much more. Introducing a modern take on the figure of Iphigenia in Greek mythology, the significance of the name as ‘strong-born’ certainly resonates in this contemporary and innovative twist, albeit as an inner strength rather than in a heroic context.
We are confronted by a young girl seemingly from an impoverished background, confirmed by her manner and appearance as she tells her tale involving drugs, drink and sex. As we first enter a state of self-righteousness and prediction that this is a self-pitying depiction of a typical ‘skank’, in her words, her immediate warning that we should be indebted to her unnerves the audience. As the story unravels, our sense of admiration deepens, and the shocking turn of events culminates in an astounding answer to her early attempt to hook the audience.
Subtle political nuances throughout suddenly become the tour de force of the show, and as we delve into her soul, her statements grow more explicitly so. The magic of the play is in how the story of one person reflects the current political climate and its effects on a particular aspect of society, a very timely plot in an age of austerity. The very believable characterization that unfolds contests our prejudices, and through her sobering reality we become more conscious that we pass an ‘Effie’ every day on the street.
The actress Sophie Melville delivered a stunning performance, and the standing ovation at the end attests to her success in maintaining a connection with the audience. Her remarkable representation included a great sense of space as she used every inch of the stage, piercing eye contact as though she personally defied every individual, varying intonation and convincing poise. The use of her body to reinforce the narrative was also captivating, as well as precise attention to pace as she quickened it to convey highlights of tension and withdrew at delicate moments in order to allow the audience to ponder her situation.
The set was minimal and interesting, comprising only a small number of chairs and a backdrop of blackness and scattered beams of light, a contrast that could be interpreted as an evocation of the lives of people like Effie. The lighting also complemented this contrast, and the absence of any sound effects deepened her authentic individuality in my opinion.
Similarly, the sequence of events oscillates between humour and despair, both emotions shaking our middle class bliss and ignorance of circumstances in some areas of the city we inhabit. The illustration of streets and landmarks in Cardiff also attenuates the originality of the play, thus again forcing us to consider alternative angles to familiar places.
Directors are sometimes ignored when actresses deliver powerful performances, but Rachel O’Riordan’s skills should be fully acknowledged. I don’t think this play could succeed without the essential mastery of director, author and actress combined, supported by special effects.
I would strongly recommend this play for those who are not easily offended by the truth of what happens around us, articulated in a language that is natural to the character. Those who would be offended should appreciate the genuine veracity of the character and her honest account of life, which deals with unexpectedly profound themes.
For those of us who are brave enough to acknowledge reality, we might not pass people on the street in Splott – or any similar areas – in the same way again. The last prophetic sentence of the play following a saddening revelation actually sent shivers down my spine before the lights dimmed. After seeing this act, I believe many will think twice before passing judgement again. And if the power to challenge or change remains the hallmark of art, this piece has definitely succeeded.
Sherman Cymru Until May 21