Ted Hughes’ adaptation of Euripides’ Alcestis transports the Greek tragedy into modern times. Though its language is idiomatic, timeless themes of confronting mortality, selfishness, and sacrifice remain. There are moments of tense conflict but also flashes of comedy in this adaptation, leading to a decidedly melancholic ending.

Director Helen Charman creates a business-like atmosphere on stage. The omnipresent chorus are dressed in formal suits, in what looks like an office staff room furnished with a table, television and kettle. This setting works well for the chorus trio’s discussion of the various decisions and actions of the protagonists throughout the play, creating a private, safe and casual sphere for the characters to speak. Furthermore, the formal attire adds a certain seriousness to the atmosphere on stage; appropriately so, as we find out that Alcestis will soon die for her husband Admetos. 

This formality also makes for contrasting, comic scenes when Heracles arrives with bold brashness on stage. The female member of the chorus immediately undoes her hair and reapplies make-up, transforming into a coquette. In a later scene, Heracles and the chorus storm on stage with shirts and ties undone and booze in hand. They merrily re-enact Heracles’ labours, bolstering the comical aspects of the play.

Saul Boyer gives a delightful performance as the legendary hero, throwing himself with abandon into the spectacle of the labours. Douglas Tawn gives a hilariously underwhelming impression of a lion during one of the reenactments. 

Conversely, Chris Born’s Admetos is not entirely believable during the initial tragic scenes of the play. He does not fully assume the sudden regret and panic of Admetos once the reality of his wife’s choice to die for him becomes closer. Indeed, the fraternal scenes between him and Heracles seem strained and farcical. However, as the play progresses Born’s performance becomes more layered. He displays thinly-veiled pain when Heracles arrives, striving to play the part of the good host. He seems on the verge of stumbling or breaking down, as if he were drunk, during scenes where he laments his wife’s death and lashes out at his father who refused to die for him.

The confrontation scene between Admetos and his father is a powerful one, both verbally and physically. The two characters confront each other’s decisions, exposing selfishness and discontent. The physical tussle between the two shows a son mad with grief and betrayal due to his father’s decision to leave him to his fate.

While the ending may seem to resolve all, it in fact exposes more tension and character foibles. Born’s Admetos seems relieved to not have to mourn anymore, re-embracing his return to public life with his wife. However, Sarah Livingstone’s Alcestis reveals through her poignant silence, weighted looks and subtle gestures her disappointment in her husband. 

Despite some underwhelming moments, there are excellent turns from the actors, creating a cohesive performance overall.