Review of ‘The Odyssey: The Underworld’: “Epic camp”

The most mythical saga in the seven seas sails to the London stage in a new musical version featuring one of the biggest companies of the season. Guillermo Nazara shares his views on the show, to let us know if it was blessed with the touch of Midas or an Achilles heel.

Ah, nothing like a handful of family issues, personal vendettas and lots of cursing to have yourself an evening of spectacle – I should know, I deal with that every Christmas… But let’s not focus on the nasty relatives or the old ugly witches (I’m not sure I’m talking about the show anymore…). Last weekend, the National Theatre welcomed the latest (and last) installment of The Odyssey, a colossal 5-part stage adaptation retelling the Ancient Greece’s popular myth through music, drama and a lot of extravaganza – the kind even Elton John would find a bit over the top (just a bit, though).

Mixing a modernized look with some more historically suggestive elements, this monumental 160-cast production explores Odysseus’s (aka Ulysses) final trials upon his return to Ithaca – also leading to the long-awaited reunion with her (no typo) son. Relying primarily on farce and comedy to redefine the twists and turns of our hero’s journey, the piece leaves, too, room for some personal introspect and emotional evolution – all in all, presenting us with a rather wholesome show written by people that have a passion for culture and an understanding of entertainment.

Penned by Chris Bush and with a score by Jim Fortune, the musical numbers are undoubtedly the strongest point of the entire work – resulting in highly amusing excerpts that also provide insight and growth to both the characters and its narrative. Lavishly orchestrated, and intricately performed by the The London Bodhrán Band (a group specialized in age-old Irish music), Fortune’s themes are as exciting and transporting as they are hummable – bringing out the interest from the very beginning through a versatile pop-folk-inpired style that, however, poses some levels of originality.

The lack of some more tune-filled moments is probably the only flaw to be found in its pacing, as the rhythm seems to go down a bit every time the dialogues take too much space from what could have been told through song. In addition, the overall camp approach is slightly lost in the middle of the plot – as the snippet when Zeus summons up the gods should have been portrayed in a more extreme way (perhaps, a talk show) to keep its pattern more cohesive; and the mood, over Mount Olympus.

Directed by Emily Lim, the production features visually impressive staging, thanks to Sadeysa Greenaway-Bailey’s suggestive set design and Dan Canham’s staggering choreography – fairly contributing to define the show’s distinctive essence: a vaudevillian soap opera of titanic proportions. The story may include a shipwreck, but the show manages to keep afloat (and even soar) for much of its entire course – due, primarily, to a creative team that appreciates the form of musical theatre and knows how to make it their own.

It would be impossible (for you, mere mortals) to go through every member of the cast. Good – they bought it, let’s call it a day and off to the saun-…. Well, it’s a Greek thing, isn’t it? Okay… Putting together performers from different pockets of the country, the biggest praises are earned by some familiar faces to the National Theatre’s boards. Victoria Hamilton-Barritt gives an vigorously infectious rendition as Poseidon, endowing her character with charm and stamina while also regaling us with some of the most enjoyable moments of the show. In addition, Zubin Varla’s portrayal of Hades is incredibly seductive – underlying the menacing tones of the role while, at the same time, making him dangerously luring.

Revising old works is often regarded as a synonym of creative drought (Hollywood could give us a lesson or two about that). Though The Odyssey does not bring anything new to its plot (it was never the intention, in the first place) it does supply a most refreshing take on one of the most iconic pieces of fiction ever made. Grasping, moving and generally exhilarating – this delightfully hilarious musical farce is a fun way to learn to feast from the classics through a young contemporary look. And maybe also to cheat in your next book assignment. If only I had known back at uni in the year… Mind your own business!

The Odyssey The Underworld was performed at National Theatre’s Olivier stage for a strictly limited run from 26 to 28 August. Tickets for further upcoming shows are available on the following link.

By Guillermo Nazara