The Imposing Set of an Unjust Sacrifice in 'Alcestis'

The imposing stage design by Konstantinos Skourletis immediately captured attention at the Epidaurus Ancient Theater for the National Theater's production of Euripides' "Alcestis." The triangular, semi-amphitheater-like set, featuring trapdoors for actors' entrances and exits, evoked the feeling of a dark musical instrument emitting ominous sounds. Its downward slope, where everything and everyone seemed to slide towards death, powerfully symbolized the play's central theme.

"Alcestis," first performed in 438 BC, is notable as the first Greek tragedy to feature Death as a character. Theodora Tzimou embodied Death with a chilling stillness, requiring no vocal or physical exertion to inspire dread. The play delves into the tragic choice of Alcestis, portrayed with vulnerability and bravery by Hero Bezou, who agreed to sacrifice her life to save her husband, King Admetus.

Admetus, played by Giannis Niarchos, gradually revealed his cowardice and tragic indecision between saving himself at his wife's expense and the potential happiness of her return. His father, Feri, expertly portrayed by Konstantinos Avarkiotis, exposed Admetus's hypocrisy. The play's climax sees Alcestis resurrected by a cheerful, Aristophanes-esque Heracles, performed with great expressiveness by Giorgos Zygouris. Her return, however, leaves Admetus in a state of dread, questioning the future of their marriage.

The production also featured strong performances from Kostas Nikouli as Apollo, Dimitra Vlagopoulou as the Servant, and Aineas Tsamatis. The play, a tragicomedy, was staged during a seemingly prosperous but war-leading Athens, reflecting on the cyclical nature of life and death, where "the earth gives birth to all and takes all back."