Melbourne Reviews

One of the best things about the Malthouse seasons is that you truly never know what you’re going to get. It’s always an exciting and wild ride, a mixture of classic tales and wonderful new works, or, in the case of Troy, a little bit of both.

The source material, Homer’s epic, The Iliad, is on brand for writer Tom Wright, whose previous adaptations include the haunting Picnic at Hanging Rock in 2016, the 2005 Malthouse production of Homer’s The Odyssey, and the 2008 production of The Women of Troy.

His latest work, Troy, goes back to the ancient city to tell the story through the cursed princess Cassandra. Given the gift of predicting the future but of never being believed, Cassandra is our guide, a representation of how it feels to be screaming truth into the void. Played by Elizabeth Blackmore with a teenage preciousness, Cassandra is an endearing narrator who can only be truly heard by breaking the fourth wall.

Joined by an enigmatic ensemble of Ciline Ajobong, Paula Arundell, Danny Ball, Geraldine Hakewill, Lyndon Watts and Mark Leonard Winter, each actor takes on several roles spanning the millennia from ancient Greece to present-day. Arundell’s resonant voice reverberates through the Merlyn theatre, giving further weight and depth to Wright’s words. Hakewell and Ajobong are commanding as they rise to the occasion, complemented by Dann Barber’s incredible costumes that invoke history-meets-Hollywood glamour. Barber also designed the breathtaking set of sand and stone lit to perfection by Paul Jackson.

Wright moves through the story at a rapid pace, omitting and adding as he goes, and it is at times confusing. The performers all play multiple roles, sometimes with little change to their costumes, so staying on top of who’s who is a challenge.

However, at heart, Troy is more a discussion and reflection of our remarkable ability to continue to repeat our historical errors. Perhaps by making these characters almost interchangeable, Troy is calling out how similar we are to our ancient counterparts. In fact, the lack of subtlety is one of the reasons this is such a brilliant production; watching the battle on the sands of Troy and the destruction of the city and its inhabitants, it could be any one of the many cities and civilisations devastated by war.

Wright’s script does expect a certain amount of prior knowledge of Homer’s The Iliad and has the potential to alienate audiences who may only know the story from Trojan horse memes or the wonderfully inaccurate 2004 film starring Brad Pitt, Orlando Bloom and Australia’s own Eric Bana.

And while knowing the story well might make it a more enjoyable experience, Troy is still accessible to those who may not be so up on their ancient history. It's a beautifully executed piece that balances its social commentary with phenomenal performances and humour.