Clare Perkins and the company. Photo by Marc Brenner.

The Bacchae by Nima Taleghani after Euripides – National Theatre: Olivier, London

Indu Rubasingham’s first production as National Theatre director is a statement of intent. It is full of energy and irreverance. The opening image is a giant, white, bloody horse head designed by Robert Jones, lowered over his set of moving marble slabs. Clare Perkins, as Bacchae leader Vida, dominates the opening scenes with the help of Nima Taleghani’s rude, slangy script. In the opening She tells Melanie-Joyce Bermudez’s impulsive follower “Chill out, you little shit”, setting the tone for a representation of Euripides classic text in unashamedly modern language. Kate Prince choreographs energetic group dance which fills the vast Olivier space.

There are powerful performances from Simon Startin as exasperated seer Tiresias, Ukweli Roach as a golden Bacchus, Sharon Small as a wild Agave and James McArdle as Pentheus, especially in the scenes where he discovers his feminine side. Some aspects of Taleghani’s debut play work well – especially the group scenes, Pentheus’ transformation from dictator to damaged victim, and the super confident tone. Others are less successful, including the attempt to give the Bacchae individual identities which comes across as rather Spice Girls, and the presentation of Bacchus which lacks the cold menace that usually lies at the heart of this play.

The production lays down a marker for theatre, as a forum for debate in a messy world, and gives a clear sense of a manifesto for the National to be a place where everyone is welcome, and all voices are heard. Rubasingham’s intent is strong, and if this show is anything to go by, her tenure will be exciting and always watchable, if not conceptually rigorous.