IF’s September reading of Euripides’ Hecuba packed out the Greensboro Room at the Bama Theatre. And I’ve learned that UA’s APO is offering pledge points to students that attend IF events. And the reading was reviewed by The Dome. There’s nothing tragic about that!

Here are a few thoughts on the production from the director, Steve Burch, the cast list, and some rehearsal photos courtesy of Jason Pan.

Hecuba by Euripides

An Improbable Fictions staged reading

Sept. 22, 2011, Bama Theatre

Cast (in order of appearance):

Polydorus: Joey Gamble

Polymestor: Russell Frost

Hecuba: Deborah Parker

Coryphaeus: Karen Baker

Chorus #1 : Susie Johnson

Chorus #2 : Adella Smith

Chorus #3 : Phoebe Threatt

Chorus #4 : Amber Gibson

Polyxena: Natalie Hopper

Odysseus: Nic Helms

Talthybius: James Wesley Glass

Agamemnon: David Ainsworth

Soldier/Son: Tyler Spindler

Soldier/Son: Eric Marable, Jr.

Adaptor/Director: Steve Burch

Hecuba is a prisoner’s tragedy; if a modern analogy be permitted, a concentration camp play . . . . [It] is born out of contemporary experience; it is a bitterly human and darkly profound reflection of the ills of the Peloponnesian War . . . . Thucydides reflected upon the frightful demoralization and deprivation which the war had brought about in individual as well as in social and political life. Euripides, in his Hecuba, presents a similar indictment of this time; and, in its universal meaning, going beyond his time, of man’s insufficiency and cruelty.

As a prisoner’s tragedy, the Hecuba has three main aspects:

  1. the suffering of the enslaved women
  2. the characters of her masters and tormentors
  3. the effect which unbearable suffering has on her.

Here, in this last aspect, lies the real and truly terrible tragedy: Under the pressure of torture beyond endurance, the sufferer becomes as bestial as the tormentors. A most pitiable woman is transformed into a fiery-eyed dog . . . . We will learn [over the course of the play] what it means to be a prisoner . . . . The tragedy of Hecuba, the prisoner, ends in her moral destruction. The forces that destroy her are realistically presented and forever symbolized in Agamemnon, Odysseus, and Polymestor . . . . But who are those who represent human decency, or even greatness, in this play? Not the “kings” who hold the power; but a child who has not lived yet, a [messenger] and unnamed soldiers. They remain on the sidelines of the action, and have no influence on the course of events.


Leave a Comment

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s