Family feuds over a patriarch’s final wishes can tear even the closest bonds apart—but what happens when cultural traditions collide with personal freedom? The Ophiolite dives into this explosive question, exploring the power struggle within a Cypriot-British family after their patriarch’s death. But here’s where it gets controversial: whose wishes truly matter when the dead can’t speak for themselves? And this is the part most people miss—how colonial legacies and ancient traditions still shape modern conflicts.
Set in 2009 Nicosia, the play centers on a bitter dispute between Aristeia (Lucy Christofi Christy) and her British sister-in-law, Jennifer (Ruth Lass). Aristeia clings to a generations-old tradition, insisting her late brother be buried in the Cypriot mountains. Jennifer, however, claims her husband’s dying wish was to be laid to rest in England, rejecting the cultural rite altogether. Their clash isn’t just about a burial—it’s a battle over identity, belonging, and the weight of heritage. Both women pull the younger generation into the fray: Jennifer’s daughter, Penelope (Han-Roze Adonis), and Aristeia’s niece, Xenya (Chrisanthi Livadiotis), become pawns in this war of wills.
The tension is amplified by a shocking real-world event: the stolen remains of former president Tassos Papadopoulos, a grim reminder of how deeply sacrilege can wound a nation. Meanwhile, the shadow of British colonial rule lingers, adding another layer to the conflict between these women. With echoes of Antigone’s defiance and a high-stakes reading of the patriarch’s will, the stage is set for a gripping drama. Yet, Philip de Voni’s debut play, while ambitious, falls short of its potential.
De Voni weaves bold ideas—ownership of the dead, the intersection of culture and land—but they don’t land with the impact they could. The characters, though rich in potential, feel underdeveloped. Take Jennifer’s second husband, Dominic (Sam Cox), who barely registers beyond his role as a plot device. Penelope, reminiscent of Penelope from The Odyssey, grapples with her own abandonment and her mother’s guilt, but her story never fully resonates. Directed by Kerry Kyriacos Michael on Cory Shipp’s stark traverse stage, the play shines in moments like the mother-daughter clashes and Jennifer and Dominic’s poignant discussions on love and death. Yet, even the strongest scenes are let down by uneven performances and intrusive, soap opera-esque musical cues.
Where The Ophiolite excels is in its seamless blending of ancient and modern themes. It’s a shame, then, that its pace feels sluggish, bogged down by intellectual debates rather than emotional depth. At over two hours, the play’s promise is overshadowed by its ponderous execution.
But here’s the real question: In a world where cultures collide, who gets to decide how we honor the dead? Is it about respecting tradition, or should personal freedom reign supreme? Let us know your thoughts in the comments—this is one debate that’s far from over.
The Ophiolite runs at Theatro Technis, London (https://www.theatrotechnis.com/whatson/the-ophiolite), until 22 February.
