It’s hard not to be intrigued just by the title of Iphigenia in Splott. The smooth, romantic-sounding name, even for someone who never heard of the princess in Greek myth, set upon the thudding single syllable that means – what? Is this a wisp of silk floating above a muddy street?
Actually, that’s batting .500. Upstream Theater’s current offering is about a young woman named Effie whose life is, well, not a struggle, because she doesn’t struggle. She languishes in a barebones existence of a nasty boyfriend, plenty of alcohol and a modicum of pot. She’s angry and defensive against a world that ignores her. Splott is a neighborhood in Cardiff, the capitol of Wales. It, too, languishes in poverty as industrial jobs evaporated and small businesses did, too. The best that can be said for Splott is that it was occasionally mentioned in “Dr. Who”. (Shirley Bassey, who sang “Goldfinger”, is known for being from Tiger Bay, another slum nearby, but moved to Splott when she was 2. Tiger Bay at least got a zippy name.)
Playwright Gary Owen knows whereof he speaks – he has said that Effie’s flat is about 6 doors from where he once lived. Effie is brought to loud, vivid life by Jennifer Theby-Quinn in a spine-tingling performance. She’s had a hard enough life to operate on the I’ll-strike-first level, even with her boyfriend. She describes her daily existence with an up-yours fervor that takes no prisoners, not even her grandmother, who’s gone back to work at the till of a grocery store to have money to give Effie. Effie doesn’t work, she gives us glisteningly clear descriptions of her hangovers, and lives an altogether purposeless life.
Then she meets a man, a recently-discharged soldier. Perhaps because he, however reluctantly, reveals his vulnerable side to her, it shakes Effie. To her surprise, it warms her, leaves her floating by the time she leaves him the following morning.
But things don’t go well. While the audience isn’t surprised by that, the story winds on, drawing us further and further in. It keeps surprising us. Theby-Quinn gives us 100 minutes, no intermission, of no-holds-barred Effie.
Her Welsh accent is quite good – I had a friend in Cardiff for more than fifty years, visited her when I could, and have heard a fair amount of Welsh citizens speaking English their way. Just like the real thing, it’s occasionally a little unintelligible,. Most of the Britishisms (that phrase may offend any Welsh reading this, for which I apologize) are kept in, like buying things at a cancer shop, which is one kind of resale shop, or the Co-op, where her nan, or grandmother, has gone back to work.
Patrick Siler has orchestrated a fine piece of work using Owen’s script and Theby-Quinn’s talent. The scenic and costume design are from Laila Alvarado, and Joseph W. Clapper did the lighting design along with co-designer and master electrician Tony Anselmo. Kareem Deanes created the sound design, subtle but very effective. And Teresa Doggett – who is originally from Wales – is the dialect coach whose efforts show so well.
Not an easy, comfortable piece of work but for those prepared to be almost blown out of their seat, it’s a remarkable experience. And not for the kiddies.
Iphigenia from Splott
through February 6
Upstream Theater
The Marcelle Theater
3310 Samuel Shepard Drive
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