Venue: Belvoir St Theatre (Surry Hills NSW), Jan 23 – 27, 2019
Playwright: William Zappa
Director: William Zappa
Cast: Blazey Best, Heather Mitchell, Socratis Otto, William Zappa
Images by Lisa Tomasetti, Jamie Williams
Homer’s ancient poem is adapted and abridged in William Zappa’s The Iliad Out Loud, first for radio, and now for the stage. This iteration of the epic stretches across three parts, each three hours long, presented by four actors and two musicians, in the form of a staged reading. It takes after what is believed to have happened in 8th century BC, when the original was performed, to be heard and not read. Zappa’s text can easily be repackaged as a novel, and often we wonder if that would have been a better format, especially during the very many drawn out battling sequences, which require only visualisation and no analysis on our part.
This condensation of events would likely be more rewarding for those who are already fans of the story. A thrilling ride for some can prove an ordeal for others, as the production routinely rushes past character development to cover significant occurrences. Without sufficient background understanding of personalities, we struggle to resonate with their trials and tribulations in all the warfare, that Zappa so exhaustively conveys.
Michael Askill and Hamed Sadehi are musicians and stars of the show, a two-man band that makes a real art form of their accompaniment. In the absence of more conventional theatrical imagery, Askill and Sadehi pull out all the stops to stoke our imagination, adding infinite colour to the pages of words being dispensed. Lighting by Matt Cox too, is inspired, with a series of elegant transformations to illumination, helping guide us through states of emotion.
Zappa is an outstanding reader, full of dynamism on his stage, holding our attention with extraordinary ease, effortless in sharing his immense enthusiasm for a seminal work of his heritage. It is a confident cast that travels with us on this journey, impressive in their detailed familiarity with every twist and turn of the 9 hours.
The warring men blame their behaviour alternately, on one woman Helen, or on the gods Zeus and his ilk. Their inability to face their own culpability in all the conflict, feels an accurate reflection of every war in every era. It may not be true that women are never in favour of such brutality, but it is certain that none of these atrocities can ever be perpetrated without men. All the war heroes in Iliad can be thought of as good guys, and our continual inclination to excuse them of the horrors that they choose to enact, reveals, at least in part, why we remain in a perpetual cycle of bloodshed.