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A major production as part of the Sydney Festival, HOLDING ACHILLES , a collaboration between Dead Puppet Society and Legs on The Wall, first seen as part of the Brisbane Festival last year, was anxiously awaited but proved something of a disappointment. Performed at Carriageworks 19-22 January as part of the Sydney Festival ,the online at – home version- was filmed at QPAC last September.
The production, with David Morton’s script, is an examination of one of the epic tales that is part of Homer’s Iliad , the story of the Trojan Wars, with its many interweaving, complex characters and matters of state. HOLDING ACHILLES concentrates on the relationship between Achilles and Patroclus, which is rarely mentioned.
The exiled young and unassuming Patroclus (Karl Richmond) is welcomed and sheltered by Achille’s (Stephen Madsen) father Peleus (Christopher Tomkinson ). At first there is much antipathy between the two. However, their training together under the centaur Chiron leads to a great accord. Achilles strives to become the hero of legend it was foretold he would become and their relationship deepens. The Trojan War begins, though, in which they are duty bound to fight with King Agamemnon and his brother Menelaus to rescue the kidnapped Helen of Troy.
The two become entangled in the bloody, brutal realities of war – realising that yes there are victors and malefactors on both sides but war is about politics and people, both adversaries and comrades being killed, and wonder about their hope of being together. At one point there is a huge shield for Achilles, and towards the end both Achilles and Patroclus wear laurel wreaths
As director, David Morton’s presentation is linear. There was most exciting puppetry, some stunning visuals, challenging aerial work and some amazing fluid physical theatre which included aerial flying and rigorously, precisely controlled and plotted fight scenes using long spears on the ground, leading to some exciting visual tableaux. While yes the acting, especially by the two leads,-was splendid and generally production elements were terrific, I found it quite jumbled and confusing, at times.
The music was performed live by Sydney singer/songwriter Montaigne (as the spirit of Achilles’ mother, the sea nymph Thetis,) and composed with Tony Buchen and Chris Bear (Grizzly Bear).
Ben Hughes ‘s lighting was dramatic, vivid and atmospheric .For most of the show there was a huge hanging disc – representing the sun or moon . At times there was lyrical starlight , contrasted in another section with the utilisation of the large lighting rig, shadows, what look like ladders and a wash of red as the background- quite intense and striking. An arresting stage picture is created when the Greek fleet sailing for Troy is depicted. Otherwise the stage was mostly bare.
Special mention must be made of the magnificent bear and her cub, delightfully created and manipulated by Dead Puppet Society. And Nic Prior’s at times scary Chiron the centaur, on stilt-walking horse heels , with a commanding Presence .
The show and cast were, at times, greatly hampered by inadequate character development – some of the regal characters and warriors were rather superficially drawn . However Odysseus (John Batchelor) and Peleus (Thomas Larkin) provide versatile portrayals. Christy Tan is a valiant and courageous Briseis. Jennifer Vuletic as Chryses , the priest of Apollo who hotly curses Agamemnon’s troops for stealing a child from her, was most impressive and dynamic. But Agamemnon (Lauren Jackson) is all braggadocio , similar to Ajax/Hector ( Ellen Bailey) and Christopher Tomkinson as Menelaus/Peleus .
A story of love, war, loyalty, grief and fierce endeavours, focusing on a queer relationship ( quite accepted in ancient Greece),that while it had some great elements, just misses the mark .
Running time 2&1/2 hours including interval – the online version is 2 hours 10 minutes straight through .
https://www.sydneyfestival.org.au/digital/holding-achilles-digital