Simon Kunz and Mithra Malek in Iphigenia [Ikin Yum]

AS the Greek army mobilises at Aulis, preparing to set sail for Troy, Agamemnon (Simon Kunz), the chief commander, is told he must sacrifice his daughter, Iphigenia (Mithra Malek), to appease the goddess Artemis and release the winds that have trapped the fleet.

He calls Iphigenia and her mother Clytemnestra (Indra Ové) to the port, telling them she is to marry Achilles. They are surprised by his summons but obey; Iphigenia is a dutiful and loving daughter – as the production makes clear, war sullies their relationship.

Serdar Biliş’s adaptation of Euripides’ tragedy (in an English version by playwright Stephen Sharkey) reflects on the human cost of war and interweaves filmed contemporary testimonies from women worldwide affected by conflict, male violence, or both. They stand in for the traditional chorus, though their commentary disrupts rather than illuminates the narrative.

Biliş’s production is a mishmash of styles. Iphigenia opens with a touch of playful metatheatricality: Kunz arrives on stage preparing for his role, fretting about whether he has set the stage correctly, and taking a call from his son asking for money. Later, Iphigenia steps into the play in modern dress from a seat in the auditorium.

Mona Camille’s costumes blend the contemporary and classical to terrific effect, though her simple set is less successful.

Once the story begins in earnest, it’s given a fairly conventional treatment, and the filmed segments feel out of step with the rest of the action. The drama is underscored by live music from Cretan-born singer and composer Kalia Lyraki, which adds atmosphere but feels dated.

Still, there are some lovely moments and it’s poignantly acted by the three-strong cast.

Until May 2
arcolatheatre.com