On this evidence David Oyelowo is not only one of our best black actors, with a godlike muscular physique, but also a gifted verse speaker. His vocal style and range harks back to the glory days of Olivier at the Vic, carrying his audience through even the most difficult passages of this rarely staged Greek tragedy.
The play is the sole surviving part of an Aeschylus trilogy in which Prometheus, champion of mankind, is cruelly punished by Zeus for his disobedience in bringing fire, the arts and science to the human race.
Director James Kerr’s verse translation is unassertively modern and accessible, although background notes would help open up an unfamiliar text.
The opening sequence is horrifying as the nailing and blooding is carried out, before leaving Oyelowo to sustain a performance restrained by manacles and heavy chains while giving an heroic, emotionally wrenching delivery of the role.
There are also fine supporting performances from Brian Poyser as Oceanus, urging Prometheus to temper his rage, Michael Dixon as the gods’ messenger Hermes threatening more severe punishment, and a parallel scene of anguish from Hayley Atwell as the crazed Io, half heifer, half woman, pursued by a gadfly.
But the ten-strong female chorus of consoling Oceanides seem to have been selected for youthful beauty and vocal charms rather than an ability to speak the lines with understanding.
Production information can change over the run of the show.
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