Review: Holding Achilles
Dead Puppet Society’s Holding Achilles is a creative collaboration with physical theatre specialists Legs on the Wall, with original music by Tony Buchen and Chris Bear (Grizzly Bear) and Montaigne. In the traditions of Greek myth, this is suitably epic in scale and aspiration, deeply rich in content and concepts, and balances entertainment with ‘food for thought.’
David Morton has written, directed and co-created a memorable production, that focuses on the relationship between Achilles (Stephen Madsen)and Patroclus (Karl Richmond), and the impacts of the Trojan War. There is no need to arrive at this show with any knowledge of Greek myth, or the legends of war, gods, and heroes. But if you are looking for a short summary, here goes…the exiled Patroclus is given sanctuary by Achilles father… Achilles’ initial hostility changes when they train together with the centaur (and they gradually become friends and then lovers) … but, when Helen flees to Troy, family alliances take the two young men to war. Of course, as is the case with myths and legends, this is a multi-layered tale—posing questions about truth, destiny and self-determination, and the real characteristics of heroes.
The epic nature of the story is certainly reflected in the staging and costumes (Set Co-Designers Anna Cordingley and David Morton, Lighting Design Ben Hughes, Costume Designer Anna Cordingley). The sumptuous Victorian gowns and new renaissance leggings of the Kings reflected their power, status and old world, in contrast to the more contemporary styling of the costumes worn by their offspring and warriors. And the set was not only functional but provided a photogenic backdrop for the tale: the mortal realm is delineated by the circular ground (the occasional amphitheatre of battle, forest glade of the centaur, and even goldfish bowl-like sea), surrounded by ladders that support some of the lighting (and are used to great effect by the riggers/counterweight), and beneath the disc that represents the realm of the gods (variously a mirror, the sun god Apollo, and perhaps even a moon).
As I had hoped with a Dead Puppet Society show, the physicality and puppetry of the show was fabulous. The audience was spellbound at the entry of the Mother Bear, and we all fell in love with the Bear Cub (fabulous work by Lauren Jackson, Lead Bear Puppeteer, and Ellen Bailey Baby Bear Puppeteer, and colleagues). Nic Prior’s a compelling performance created a glorious Chiron, with a stylishly flouncing walk on those centaur legs.
Legs on the Wall’s physical theatre delivered a fabulously loving aerial duet, and created the fabulous underwater scenes which were pivotal in the developing relationship between the two leads—Patroclus’ first act rescue of the drowning Achilles, and the playfully happy second act swimming duet of the two lovers. However, I found some of the choreography a little clunky and physical theatre moves repetitive, and felt that the first act would have benefited from having less of both.
In a production where the puppetry, physicality, set, costumes, and soundtrack are to the fore, the show benefited from some great casting and hard work by the small cast. Minor and ensemble performances by Thomas Larkin (Meneleus and Peleus), Jennifer Vuletic (Priam, Chrsyses), and Johnas Liu (Ensemble, Counterweight) were solid. I felt I didn’t see Karl Richmond’s best work at this matinee performance, but Richmond created a believable Patroclus, delivered some great physical theatre, and was suitable counterpoint to the more traditionally heroic Achilles. I loved the excellent performances by Stephen Madsen (a beautiful Achilles who managed the full gamut of petulant son, future hero, warrior, and tender lover), John Batchelor (Odysseus), Ellen Bailey (Ajax, Hector, and Baby Bear Puppeteer), Nic Prior (Paris, Chiron), Christy Tran (Briseis), and Lauren Jackson (Agamemnon, Lead Bear Puppeteer).
It’s always lovely to have live music in a production. Montaigne floats and walks into the show contributing to the suitably atmospheric soundtrack (and giving form to Achilles’ late mother, Thetis). No, I couldn’t generally hear the words, but that didn’t matter. However, what did matter was that the sound cues were sometimes a little slow, which meant the some of the spoken words were missed at the beginning of key speeches.
Morton’s Holding Achilles’ queer lens, and re-gendering/de-gendering of key roles, offers fascinating new insights into an old story. My two strongest ‘ah-ha’ moments connected with the themes of parent/child legacies, and about the true nature of heroism (are heroes those who have the short lives that are celebrated in epic tales, or those who seek the ordinary long lives that are celebrated on the warrior’s shield).
Firstly, Morton’s production weaves in references to parent/child relationships and themes of history ‘repeating itself’: the oaths sworn by Helen’s suitors that commit families to join the Trojan war; Achilles desire to fulfil his Mother’s prophecy of becoming a hero; and even the relationship between Achilles and the bear cub. The re-gendering of a number of key characters offered some particularly fascinating new insights about the mythic story. For me, this worked most powerfully at the moment when Achilles first sights Priam, who has come to reclaim the body of Hector (Priam’s son). Achilles first mistakes King Priam for his own late mother, to which Priam (Jennifer Vuletic) replies that they are a mother, but not to Achilles.
Secondly, the early conversations between the two lovers outline what they believe to be vastly different goals: Patroclus aspiring to a quiet life in a leafy grove, and Achilles seeking to fulfil his mother’s prophecy of a short heroic life. Morton’s retelling proposes a symmetry in the two apparently diverging aspirations, and suggests that what we all seek is a long and loving life.
I have been impressed with the timings of the matinees in the 2022 Brisbane Festival. 11am may not be a regular ‘slot’ for a theatrical matinee, but it clearly worked for local schools as the 7 September matinee included a number of school groups. I am sure that this production provided a rich seam of material for their enthusiastic teachers to explore.
Don’t take my word for it; go along and see what you think. Holding Achilles is a suitably ambitious telling of a truly epic tale. Visually stunning, with fabulous puppetry and fantastic insights from a questioning re-gendering of mythic heroes, Holding Achilles is definitely worth the price of admission. The world premiere run is now finished, but if you find this show goes to another festival or theatre, then go if you can find a ticket.
Audience information: The world premiere run of Holding Achilles closed on 10 September 2022 (previewed from 29 August, opening night 2 September. 12+. adult themes, limited smoke haze, loud music, strobe-style lighting, occasional full blackout and very limited coarse language. Tickets $39-$59 (plus transaction fee). 150 minutes (including 20 minute interval).
The reviewer attended the 7 September 2022 matinee performance (11am).
The original version of this review first appeared at Nothing Ever Happens in Brisbane.
Image supplied