the frogs
Aristophanes' The Frogs happily
demolishes my preconceptions
that university-based productions of Greek classics, including comedies,
will inevitably be earnest.
Taking its cue from the reasonably imitable laid-back comic
styles of Taika Cohen (Dionysus) and Jemaine Clement (Aeschylus), who
perform together as the Humourbeasts, and under the direction of
David Lawrence, a deceptively ramshackle cast gives a clear and
funny rendition of the play.
The central question remains valid 24 centuries later:
which has more social value - the realistic but nihilistic tragedy
that confirms the powerlessness of mere humans, or the grandiose
and idealistic play that inspires the downtrodden masses?
- John Smythe,
National Business Review
Aristophanes' The Frogs is
a comedy about a quest. Dionysus
(Taika Cohen) and his slave Xanthias (Carey Smith) decide that all
playwrights alive in the city of Athens are crap, so they venture
to the underworld to bring back one of the dead ones. After a
play-off between the idealistic poet, Aeschylus (Jemaine Clement) and
the tell it as it is poet Euripides (Bret McKenzie), Dionysus decides
to return to Athens with Aeschylus as he is far more inspirational.
Intertwine this main plot with role reversal, slapstick, dancing,
singing (reggae, rap, tuneful, not so tuneful) and phrases such as
"it's all bollocks" and the referral to hell as "the holiday
destination of a lifetime" and you have the modernized version of
this Greek classic.
The Frogs is the epitome
of the minimalist production though
this works incredibly well for the venue in which it is performed.
So many outdoor productions are just performed outside for the
novelty of it whereas this production is enhanced by the outside
surroundings and pretend amphitheatre, creating an atmosphere as
similar as possible to when Aristophanes wrote it in 405BC.
The actors were all convincing in their roles, working
incredibly well with each other in some sticky line-forgetting
situations. One has to wonder when watching the production
whether it changes slightly every night.
All in all this was an extremely accurate and
hilariously funny adaptation of Aristophanes'
The Frogs.
So if you think Greek plays written in the BC are not for you,
check this out - then make up your mind. The only thing that took
my mind off the play was my bottom. They say take a cushion, my
advice is to take two!
- Laura Staples,
Salient
Comedy wins out in casual 'poor theatre' of Frogs
The Frogs by Aristophanes was
first performed in January 405BC.
Its most recent production opened last night in what the programme
calls "a genuine pretend amphitheatre" tucked into the hillside
outside Studio 77 on Fairlie Tce.
In true Fringe style the production fits neatly into the
category of "poor theatre", which means that simplicity rules,
with minimal props and costumes and what looks at times like a rough
and ready rehearsal schedule. Luckily, disaster and embarrassment
are avoided, and its casual, offhand air makes
The Frogs an
unusual and entertaining hour.
The actors eyeball the audience with a winning confidence and
some comedy as Dionysus (Taika Cohen) and his slave Xanthias (Carey
Smith) go to Hades to bring back Euripdes (Bret McKenzie) from the
dead but end up with the heavy-going, idealistic Aeschylus (Jemaine
Clement) because he's more likely to inspire the Athenian citizenry
than the dangerous Euripides.
While we're told the script hasn't been updated, the famous
Frog chorus is sung to a reggae tune and Aeschylus and Euripides face
each other in a duel like rival pop stars. However, comedy wins out
even though the satire has lost its sting.
- Laurie Atkinson,
The Evening Post,
A night of theatrical time travel
(reviewed with "Invisible Ink" by Open Book productions)
These two plays offer the chance to cover 2500 years of Western theatre
in one night.
The older is, of course,
The Frogs and it takes place
in a small Greek-style theatre outside Victoria's theatre studies centre.
On an evening such as we had last night it was a very agreeable
environment, though those planning to attend should go armed with a
comfortable cushion.
The actual argument around which the play centres is about as
up to the minute as it gets. In the climactic debate the great
tragedians, Euripides and Aeschylus, debate the purpose of drama:
should it inspire society or critique it? What's new?
The play receives an amiable performance combining several
translations and using elements from different periods to give us the
flavour of ancient comedy.
In acting terms there was a sense of not being fully prepared
on the opening night. But that did not go for the show-stopping music
and dance numbers which, starting with the frogs' chorus, featured
highly attractive compositions by Bret McKenzie and Jemaine Clement.
McKenzie was also electrifying as Euripides to Clement's outraged
Aeschylus, and Taika Cohen played Dionysus with the winning charm
of a playboy Candide.
- Timothy O'Brien,
The Dominion
A comic highlight of Fringe 2000. Encapsulating the essence of ancient
Greek theatricality seems almost carefree but the effect is masterful.
With a capacity audience of mainly students (drama and classics at a
guess) ensemble group The Bacchanals deliver a freely adapted version
of Aristophanes' The Frogs with
panache. Improvisation is the
key. A prologue debate over modernizing references is null and void
as in typical Greek comedy fashion some actors broke the agreed protocol
almost as soon as it was set. In its casting the production was
fundamentally modernized with chorus members taking on interactive
roles and the main pool of actors significantly over the traditional
three. Incorporating mask, dance, music and direct audience contact
the troupe are energetically engaging. And hilarious. Some new
faces join seasoned performers in a very balanced performance standard.
The debate between Jemaine Clement's supremely superior Aeschylus
and Bret McKenzie's anarchically arrogant Euripides is outrageously
funny and brilliantly supported by original music composed by the two.
As Dionysus, Taika Cohen continues to frustrate with his career corpsing.
His charm does not make up for constantly dropping out of character,
although this performance trait possibly adds reality to the long
suffering portrayal of his servant Xanthias by Carey Smith. Where
Cohen lets down the rest of the cast the chorus wins back the
audience with commitment and cohesion.
- Yolande Smythe,
The Package
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