Review: Hecuba, The Swan, Stratford

As the ancient city of Troy is conquered by an army made up of many rival tribes, in-fighting amongst the victors breaks out and factions vie for supremacy. Men die, women are raped and enslaved but children are the biggest losers. Some are used as political pawns, others sacrificed to the gods in exchange for favours.

When the body of Hecuba's son Polydorus, murdered and thrown into the sea, is washed up on the shore with others who have suffered a similar fate, it is hard not to rewind just three weeks to the images of three-year-old Syrian refugee Aylan Kurdi washed up on a Turkish beach.

The relevance of the story is brought all the closer by writer Marina Carr's use of modern words and phrases like genocide. This is a 2,500-year-old Greek myth with a bright, contemporary feel. "Isn't war sexy" remarks Hecuba's daughter Cassandra, citing 'all those half-naked men.'

Carr's new play differs from Euripides' story of the same name in several ways. There is no Greek chorus for a start. Instead each actor narrates the story, addressing the audience directly, as well as speaking his or her part, which is incredibly effective at drawing us in.

Carr's version also draws back from having Hecuba seek revenge for the death of Polydorous by murdering the sons of the man she holds responsible. Despite her unimaginable loss - her husband and all but one of her children killed - Carr felt Hecuba could not stoop to such savagery. Choosing a woman to highlight the impact of war turns out to be a very good idea.

A chair is the only piece of scenery on this spare set, with the only other feature a large mirror across the back of the stage, reflecting the actors and the audience. Actress Derbhle.

Crotty in the title role and Ray Fearon as the conquering king Agamemnon are both outstanding. Lasts 1hr 50 mins without an interval. Runs until October 17.

By Marion Brennan