Lysistrata, originally by Aristophanes, is preceded by its reputation. Whether known as a feminist rallying point around which contemporary gender role issues can be articulated, or simply as 'that Greek play with all the dicks', it is certainly famous. Therefore, any company wishing to stage the play arguably faces a problem as it attempts to stand up (if you'll pardon the pun) against the countless versions that have gone before. Throw into this mix of notoriety a group of talented and enthusiastic cross-dressing young performers and an adaptation with the word 'sex' in the title, and you would expect to have a highly impressive and successful Fringe show.
Unfortunately, in the case of Braindead Theatre Company's adaptation this was not to be the case. An energetic performance by the company at large, as well as some strong individual contributions, could not redeem the show from its anachronism (Jessie J music in a Greek play was surprising to say the least), cheap laughs and ambiguous message. Many of the potential areas for supreme amusement, such as the interaction between Kinesias and Kalonike, were skimmed over through swift (albeit effective) movement and many innuendos fell flat.
Instead of the expected hilarity, there were lengthy and protracted scenes of discussion that were unessential to the overall emphasis of this version, and restricted by the use of mask. Add to this the fact that the cast played primarily to one side of the thrust stage, and many audience members were left disappointed. With few facial expressions on offer and a limited set, such scenes only enabled audience contemplation on certain confounding issues: was disco dance strictly relevant to a play that conferred a humorous yet profound message? Why spoil the illusion of reality with a self-consciously Brechtian ending? And how on Earth did Jack London (Lampito) squeeze into such a tight negligee?
Thankfully these areas of confusion and regret are somewhat redeemed by the talented young cast who rose to the challenges of cross gender roles marvellously. In particular George Rexstrew (Lysistrata) should be commended for finding softness and truth in a role that can often appear emotionally remote.
However, this performance was ultimately vastly disappointing. A tale with bottomless scope for humour and poignancy was not effectively communicated to its audience, and a cast with great potential were not able to fulfil it. Not worth consideration, not even to bear witness to a female actress sporting a significant and impressive appendage.
