David Wenham stars in the Sydney Theatre Company's production of An Iliad, a contemporary adaptation of Homer's epic that focuses on the act of storytelling itself. The play, written by Lisa Peterson and Denis O'Hare, condenses the original 6,000 lines into a 100-minute performance set in a stripped-back warehouse space. Wenham plays a world-weary Poet who narrates the tale with a suitcase of sand and portable stage lights, accompanied by musician Helen Svoboda on double bass and vocals.
The production, directed by Damien Ryan, leans heavily into humour to balance the dark themes of war and suffering. Wenham's likeable everyman persona brings a sly charm to the role, though the audience's laughter sometimes undermines the play's more poignant moments. The Poet's lament that 'every time I sing this song, I hope it's the last time' was met with unintended laughter on opening night, highlighting the challenge of balancing comedy and drama.
Svoboda serves as the show's 'hidden weapon', creating a sonorous soundscape through inventive use of her instrument and voice, from the wailing of women to the rustle of fire. Her solemn presence provides a counterweight to Wenham's natural affability. The play's most powerful scene involves the story of Andromache mourning her husband Hector, with Svoboda's keening over her instrument evoking the intense human cost of war.
An Iliad includes contemporary references, updating a list of wars to include 'Iran, US, Israel'. The play honours the oral tradition of Homer's text, with the Poet noting that in the old days, such horrors were easier to discuss in a tavern or bar. While the production sometimes struggles to balance humour and pathos, it succeeds in making the audience feel the human drama deeply, particularly in its quieter moments.
