Two names in a title is misleading, this is Dionysus, Dionysus, and more Dionysus. He’s a celebration of freedom, he’s selfish, callous, and indulgent. His brother, Apollo, is his calm counterpart.
Both are naked and share the space with a child. They are there, in fact, because the child is thinking about them. The child has questions which neither of them answers – great and grand questions about life to which the Gods respond with an unhelpful hail of attitudes.
The philosophical points are tackled head-on, ideas as naked as the Gods themselves. The questions are not answered, in fact they’re hardly debated. Rather, the totality of statements is an invitation to do your own thinking. The words are as provocative as the characters.
The action is raw and stripped down to its bare essence. The Gods argue, drink, and fight. The child is helpless in the froth. The arrival of an oracle brings no clarity but serves to remind us that even the Gods are part of a broader theme. She is a calming influence between them and by placing attention a step away from the scrap, we and the child can at last see them for what they are and begin to draw our conclusions.
The brothers get equal attention in the script, but Dionysus steals the show every step of the way. It’s the most liberated and shameless performance you’re likely to see this year, and well-worth staying up late for.
4/5 
Bernie Greenwood
