SAPPHO: POET. LOVER. LEGEND

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐ | Press Invite

There are two things dear reader that you need to know about me: 

1. I am a huge history buff who incidentally studied classics
2. I am also a huge flamboyant Queer. Potentially an icon, y’all need to ask the younger queers that, but, we aspire. 

So when I was asked if I wanted to review ‘Sappho’ I may have screamed out my enthusiasm a wee bit and ran out of the door.  Written by Wendy Beckett, ‘Sappho’, transports us to the idyllic island of Lesbos, around 600 BC, where the revered young poet Sappho captures the hearts and minds of the local population, who in this instance are represented by a traditional Greek chorus,  with her profound teachings. Sappho is very clearly a self aware lesbian (we stan) and becomes entangled in a romance with a woman named Adore. The play explores the tension between her progressive personal life and her liberal parents having to meet ‘traditional expectations’, who are determined to secure an arranged marriage (with a man!) to elevate their social standing and influence political change. 

Set against a backdrop of ancient Greece but reimagined as ancient Greece… but at a glittery Queer club (Goals, to be fair) , ‘Sappho’ beautifully intertwines poetic musings, thoughts around what it is to be a woman and a  human in any historical age and our romantic aspirations. Sappho’s daytime lectures on philosophy and poetry seamlessly transition into night-time reveries filled with creative inspiration, particularly after she witnesses Adore’s enchanting dance.

THE MINIMALISTIC SET PROVIDES A VERSATILE STAGE THAT ADEPTLY SIGNIFIES THE PASSAGE OF TIME AND SETTING CHANGES

The play’s narrative unfolds through a captivating blend of dance, music, and traditional theatrical scenes, enriched by a vibrant Greek chorus led by the spirited Emmanuel Akwafo who doesn’t just enter into the story honey, they STRUT into the story. Akwafo’s portrayal of the narrator is a masterclass in emotive storytelling, his dynamic performance swinging effortlessly between outrage and exuberance. He is the modern voice in this ancient and when he introduces the fiery Aphrodite, played with luxurious decadence by Velile Tshabalala, the stage practically ignites with their combined energy, often outshining the central love story of Sappho and Adore. 

Georgie Fellows and Eleanor Kane, portraying Sappho and Adore respectively, bring a sensual chemistry and charm to their roles, yet their characters sometimes lack the depth that would elevate their romance to a truly compelling narrative – nothing to do with the actors but just maybe I’ve had a bit too much limerence and not love in my life to be able to not question love at first sight BUT this is a play so maybe I need to be less cynical. Despite this, the fluidity and grace of Diamantopoulos’ choreography convincingly portrays their burgeoning love, compensating for the occasional narrative shortfall. The play also explores other heterosexual relationships, with Aidan Banyard providing a manly and comical northern accented Hephaestus bouncing off Tshabalala’s sensual and fierce Aphrodite. They  later switch roles and explore another couple dynamic as Sappho’s potential, and very snobby future parents in law, again to huge comedic effect.

HUGE KUDOS TO THE CHORUS WHO SINCERELY MADE ME CARE ABOUT THE PEOPLE OF LESBOS

The production’s choreography and movement, alongside Mehdi Bourayou’s original music, are standout elements. The closing number, “Oh The Ladies,” written by Beckett, encapsulates the joyous and inclusive spirit of the play, celebrating the women of Lesbos in a rousing finale. The minimalist set, with its mobile tables and celestial abstractions, provides a versatile stage that adeptly signifies the passage of time and setting changes. The ensemble’s comedic handling of the props, such as holding up stars for a romantic night scene, adds a charmingly playful touch to the performance. 

Huge kudos to the chorus, who created their own unique characters and sincerely made me really care about the people of Lesbos. Roann Hassani McCloskey in particular kept catching my eye, whose delightful charm shone through and Andrew Franklin who just has that energy that makes you want to smile. 

Co-directed by Beckett and Adam Fitzgerald, ‘Sappho’ balances humour and heartfelt emotion with a breezy, tongue-in-cheek tone. The overall energy and pace keep the audience engaged and entertained.

In essence, ‘Sappho’ is a delightful theatrical experience that, much like its protagonist, is easy to love despite its occasional lack of depth. The play’s light-hearted yet intellectually engaging approach, coupled with its celebration of queer love and identity, makes it a joyful addition to the Southwark Playhouse’s line-up. Fun, flirtatious, and thoughtful, ‘Sappho’ invites audiences to revel in its imaginative retelling of a timeless story.

WEBSITE

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Photo Credit: Mark Senior

CREATIVES

Wendy Beckett – CO-DIRECTOR
Adam Fitzgerald – CO-DIRECTOR
Fotis Diamantopoulos – CHOREOGRAPHER

Halcyon Pratt – SET DESIGNER
Pavlos Thanopoulos – COSTUME DESIGNER
Adam King – LIGHTING DESIGNER
Mehdi Bourayou – MUSIC & SOUND DESIGNER