This biography of Alexander the Great is a distinctly modern treatment of a classical figure. It has an unusual and ambitious structure: fanciful, lyrical, timeless narrative segments are blended with down-to-earth dialogue, soliloquy, and outright exposition. There is also a strong but unpretentious sense of style running throughout – shame they fumble sometimes, it’s almost slick.
This show is split onto two parts on alternating days, for no obvious or good reason. Part One starts out as a romance, diverting into politics towards the end. Sadly, both parts are insubstantial. The romance is pointless since the characters are never significantly developed and the politics is pointless since it ends before the momentum has been built, let alone expended on drama. The first part, taken on its own, feels diluted, and this will discourage you from coming back for the second.
The second part is much richer, or at least feels like it’s actually a play but still fails to deliver anything more than a sketchy account.
It charts the triumph and eventual rot of Alexander’s campaign across the known world, culminating in his death. Quite how this all comes about is something of a mystery if you don’t already know, since many events are glossed-over in overly dense lines. You could come away with the impression that he only conquered Persia, but still not have any idea how.
Where time is given to the characters, rather than to decorated bullet points, there is a clear and genuinely dramatic yarn in which some of Alexander’s oldest companions are depreciated or killed. It’s actually adequate, at least when the actors bother to act.
A very good play could evolve from this production, if the romance was humanised or abandoned for the sake of focus, but they’re not there yet by a long shot.
2/5 
Bernie Greenwood
