Prometheus Bound
Sound Theatre, London

Ursula Strauss
posted 27 August 2005

James Kerr's production of Aeschylus' Prometheus Bound at the new Sound Theatre contrasts softness and harsh tyranny. The heavily chained Prometheus, punished by a vengeful and ungrateful Zeus, visually contrasts with the softly spoken and floatily clad chorus of maidens that are drawn to him to hear his story.

The play opens with the violent chaining of a black man - an image which must conjure up visions of slavery. The racial charge is further emphasised by the shaven-headed Hermes (Michael Dixon) who taunts him, but Prometheus remains unbowed. We realise later that Prometheus can foresee the future and hence holds the key to the fate of the supreme oppressor, Zeus. He can endure his pain because of the knowledge of his own power that will, at the right time, be able to be expressed.

This image of oppression is broadened into that of a more general Christ-like figure, pierced in the chest and punished for his love of mankind. Hanging with spread-out arms as though from a crucifix, he declares, 'I saved mankind and brought myself suffering'. His love for mankind is touching - Prometheus saved humanity from certain death by giving them fire and also, intriguingly, by protecting them from the knowledge of their own death and hence despair. His reforming zeal can only meet with the cruel punishment that the world dishes out to those who shake up the order of things, however correct their cause.

Prometheus is, however, no saint. He is at first arrogant and enraged and will not accept Zeus' mastery, although he acknowledges that 'They do not win who fight'. Most of all, he is not fearful. As the play progresses, however, his boasting turns to kindness - driven by his interest in others, as when Io (Hayley Atwell) appears and he is touched by her fate. She is another victim at the hands of the gods - this time, it is Zeus's desire for her that has inspired the jealousy for which she must suffer. Atwell's performance as the woman transformed into a cow is more convincing in movement than in speech, where the drama is at too consistently a high a pitch.

The sounds of their mutual agony and the clattering of Prometheus' chains contrasted with the sweet Chorus's Gaelic inspired tunes, which, whilst pleasing, doesn't seem quite in tune with the general atmosphere. The filtered lighting, however, effectively creates the sense of a cliff with overhangs in an otherwise sparse stage. Whilst the triangular stage is effective, I would rather not have had to peer around other people's heads in order to see the action - quite a large drawback to this new venue.

David Oyelowo as Prometheus is always clear and commanding of attention. However, despite some powerful moments, the production does suffer from a lack of momentum especially in the later stages. The first in a trilogy of which the other plays are lost, there is not enough sense of a dramatic trajectory, rather just a change in mood. What is initially a drama of harshness and tyranny gradually softens into one of kindness - of Oceanus' (a wonderfully gentle Brian Poyser) concern for Prometheus; the chorus's wary stance, yet soothing words; the generosity of Prometheus toward Io despite his horrific situation. Everything comes to he who waits...

Till 10 September 2005