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Phaedra x 3:

“Phaedra” by Jean Racine, Translated by Ted Hughes

One of the oldest tales of forbidden love, “Phaedra” tells the story of

a woman in love with her stepson. From Euripides to Racine, playwrights

throughout the ages have adapted the tale of “Phaedra” according to their own

interpretations and societal constructs. The One Year Lease theater company tackles

the ancient myth by presenting a series of adaptations in their current

project, Phaedra x 3. Matthew Maguire’s modern interpretation features Theseus as

the head of a powerful corporation, while Sarah Kane’s “Phaedra’s Love,” is

an avant-garde rendition in which Hippolytus is depicted as a promiscuous slob.

Ted Hughes’s translation is the most faithful of the three to the classic

version, in which Phaedra’s overwhelming desire for her stepson leads to her

demise.

In Hughes’s rendition, Susannah Melone plays the title role. As Phaedra,

Ms. Melone delivers an ineffectual performance. Gasps between lines intended

for emotional emphasis are distracting, as is Ms. Melone’s tendency to harp too

much on Phaedra’s victimization. Inner struggle and determination to survive,

despite all odds, are absent from Ms. Melone’s portrayal, thus rendering Ms.

Melone’s performance stagnant.

As Hippolytus, Danny Bernardy has a kind and intriguing stage presence.

However, there is a lack of specificity with regard to his emotional choices:

he moves through the play in a dream-like state, void of mettle or drive.

Bernardy’s breathy vocal quality makes it all the more difficult to care about

his character.

As Oenone, Jennie Hahn is lithe and graceful. Unfortunately, her voice is

at times noticeably constricted, adversely affecting her performance. Ms.

Hahn does have truthful and powerful moments during the play, which show her to

be a talented actress; yet these moments are eclipsed by faulty directing.

Gregory Waller appears as Theseus, giving a grounded performance and providing

much-needed comic relief. It is a shame that Waller appears so late in the

production, for he is a pleasure to watch.

Ianthe Demos directs with clunkiness, as evidenced by the awkward

blocking. A clear example is that Demos has her actors repeatedly fall to their

knees; perhaps intended for emotional emphasis, the repetition of such action on

stage becomes predictable and campy. There is a glaring lack of conflict in this

production, augmented by mismatched musical choices, and Demos’s cast suffers

because of it.

Phaedra x 3 is a worthy endeavor, and One Year Lease’s commitment to

reviving the classics should be applauded. However, if Hughes’s “Phaedra” is an

indication of the remaining adaptations in One Year Lease’s current under

taking, there is still much work to be done.