Gladiatrix
Sunshine, swords, spears, sandals and showmanship; the ancient gladiatorial arena had it all, presided over by Emperor Septimus Severus of Rome from 193 to 211AD, but what it lacked was showtunes, an oversight forcefully rectified by a band of rebels in new historical musical Gladiatrix, written by Edinburgh based screenwriter and mythologist Paul Bianchi from his own research with music by Los Angeles based Tony Gonzalez and Sam Johnides.
It was in the year 200AD that Septimus, responding to a growing Christian representation within the senate calling for the gladiatorial games to be curtailed for reasons of decency, decided an outright ban would be a step too far but instead proclaimed that it should be solely men who fought, Bianchi imagining how this would have effected four professional women gladiators who find their experience and skills obviated by opponent against whom they cannot fight.
Starring Bukky Oronti, Stella Antonogiannaki, Kirsten Longmuir and Olivia Blair as Deireoe, defiant “Battle Queen of Carthage,” Vita, Mevia and Felicitas, each of them is given a solo number to shine to present their cases and defend their right to live as they choose, while chronicler Marius (Bianchi) provides post-modern commentary and context alongside Cato (Stephen Quinn), all presided over with diva-like majesty by Dashaun Vegas as the grand Septimus Severance, determined to Make Rome Great Again.
An angry tragedy of herstory giving way to history, women subjected to double standards whose unity could have unbalanced an already unstable empire, the fight choreography is as impressive as the costumes and props and each of the tunes is distinct and memorable, Gladiatrix giving voice to those whose marginalised existence has been almost overwritten by time, a show crying out to break free into a bigger venue to fully manifest its potential.
Gladiatrix continues at Venue 45 at theSpace on Jeffrey Street until Saturday 23rd August
