Sydney Reviews

Allow me to join the chorus of approval, applause and accolade for New Ghosts Theatre Company’s production of Gary Owen’s Iphigenia In Splott.

In reviewing this superb piece of theatre, one can only aspire to emulate the crisp, clear, crystalline writing to describe the power and the imagery of Owen’s text, hoping to inspire audience attendance. 

This most certainly must see show is stellar storytelling by a star performer, Meg Clarke, blazing not twinkling like a diamond on the stage, ferocious, fearless, fantastic. She dazzles with vocal dexterity and a prowling physical prowess.

She plays Effie, a labelled slag, term worn like a badge, who likes a shag, a toke and a poke with her fuck buddy Kev, in the south Cardiff spot called Splott.

Short time and distance away from the Welsh coastal shoreline, Splott could well be on the moon as Effie has never seen the sea, the closest to a cliff hang is a spliff and spirit hangover, a state of almost perpetual succumb.

One night she has an encounter with a mutilated military man and her life takes a turn of topsy turvy loops and bounds.

This is a journey well worth accompanying her on, expertly navigated with a compelling commentary. The prose poetically precise, scalpel sharp, cutting edge, a gigantic social mural planned with a palette of vibrant colours surfacing from a seemingly dull and purposeless base.

Deftly directed by Lucy Clements, this production boasts a bare, pared back, bible black and drab grey, brick and slab and stepped set by Angela Doherty enhanced by Luna Ng’s superb lighting and Chrysoulla Markoulli’s atmospheric sound design.

"Iphigenia" means "strong-born," "born to strength," and Owen’s text delivered by Clarke’s virtuoso performance perfectly encapsulates and embodies that definition.

Iphigenia In Splott is a theatrical experience as startling as anything presently on stage.