Written
and Directed by David Atfield
Designed
by Imogen KeenSound design by Liberty Kerr
Lighting design by Imogen Schwab
Presented by The Street in association with David Atfield
The Street Theatre – November 14 – 23, 2014
It’s not
every day you get the opportunity to see a play set in Rome in 130 A.D. Life was different then. Public nudity was
common-place, and mothers enthusiastically coached their handsome young sons in
the sensual skills necessary to succeed as an eromenos, (male prostitute), in
the hope that he might attract a wealthy protector.
It’s also not often that you get to see male nudity and sexuality portrayed so frankly, so fearlessly and so effectively on stage as in this striking production.
While
visiting various museums in Italy, David Atfield was fascinated by how many
statues were on display of a young man called Antinous. Enquiries revealed Antinous
was the favourite of the Emperor Hadrian. This information was enough to seed a
desire in Atfield to delve further into the life and times of Antinous. What he
discovered is fascinatingly revealed in this play, “Scandalous Boy”.
 |
| Nicholas Eadie - Emma Strand - back Ethan Gibson - James Hughes - front |
We first
meet Antinous as a nude statue, set on a pedestal in the centre of a huge
circular bed draped in white satin. The statue comes to life, strides to the
front of the stage and addresses the audience directly. When he notices that
some audience members appear distracted by the sight of his penis, Antinous thoughtfully
slips into a pair of spangled trunks.
These
trunks come and go frequently during the course of his story, told in
seamlessly flowing episodes, and for which he is joined by a variety of characters.
Often confronting, these episodes are artfully staged, conjuring up images
familiar from Greek and Roman statuary particularly during the cleverly staged
the nude wrestling sequence.
Blessed
with a body any Greek statue would envy, Ethan Gibson as Antinous, also
possesses considerable presence and acting ability. Perfectly cast and completely
at ease with the required nudity, he skilfully manipulates the audience’s
response to Antinous. At first he’s open, engaging and funny. But as the play
progresses, the audience come to realise that his mother has done her work
well, and that his professed love for Hadrian is no more than a strategy to
achieve his own ends.
As
mesmerising as Gibson is, this is no one-man show. He is surrounded by a strong
cast of experienced actors of which Nicholas Eadie as the besotted Emperor
Hadrian is particularly impressive in his depiction of the decline from warrior
emperor to snivelling lover, skilfully seduced by the beauty of Antinous and his knowledge of unsuspected
carnal delights.
Emma
Strand is also a strong presence, first as Antinous mother, then as the young
Empress Sabina, enduring the most grotesque of wedding nights, and finally as
the older, wiser empress, protecting her position in court from the manipulations
of Antinous.
Both Raoul
Cramer as Lucius, Hadrian’s older former lover, now advisor, and James Hughes
as Marcellus, servant to Sabina and lover to Antinous, contribute strong,
effective portrayals in a production that often has the feeling that a much
large cast is present, due in no small part to Imogen Keen’s imaginative setting
and the evocative lighting by Gillian Schwab.
 |
| Ethan Gibson - James Hughes |
Though
set in 130 A.D. the language in the play is that of the present day. So are the
deliberately ambiguous and witty costumes. Unsurprisingly it works a treat.
Though
inherently a play exploring love between men, it would be a shame if this play
was sidelined into the realm of queer theatre, as it has much to say about the
nature of love, and the manipulative power of a certain kind of love. The
nudity and sexuality are matter-of-fact and necessary, rather than gratuitous
and it gives a fascinating insight into another time and another way of
thinking about love and sex. Best of all; it’s hugely entertaining, informative
and refreshing.
Another product of The Hive and First Seen initiatives of The Street, this play deserves to be seen beyond Canberra, and hopefully will be. If it comes to a theatre near you, make sure you see it.
