The Ophiolite review – a family at war over patriarch’s dying wishes
Philip de Voni's debut play Ophiolite dramatizes a bitter dispute within a mixed Cypriot‑British family over the late patriarch's burial. The production blends ancient myth with modern colonial legacies, but uneven character work and a sluggish pace limit its impact.
Philip de Voni’s first full‑length play, Ophiolite, opens with a funeral dispute that quickly spirals into a broader examination of cultural identity, colonial history, and the ownership of the dead. Set against the backdrop of a recent high‑profile grave robbery in Nicosia, the drama follows two women—Aristeia (Lucy Christofi Christy) and Jennifer (Ruth Lass)—as they battle over where the patriarch of their extended family should be laid to rest.
Plot and central conflict
The story begins in 2009, when the patriarch dies in Nicosia. Aristeia, a Cypriot‑born daughter of the family, insists that her brother’s body be buried in the traditional mountain gravesite that has been used by their ancestors for generations. Jennifer, his British wife, counters that the deceased explicitly requested his remains be returned to England, a wish she claims honors his personal freedom and modern sensibilities. The clash quickly becomes a proxy war for deeper tensions: the pull of ancient Cypriot rites versus the pull of a Western, individualist outlook.
Both women attempt to enlist the younger generation in their cause. Jennifer’s daughter, Penelope (Han‑Roze Adonis), is caught between loyalty to her mother and the pull of her own identity, while Aristeia’s niece, Xenya (Chrisanthi Livadiotis), represents the next‑generation Cypriot voice, eager to preserve tradition but also aware of the diaspora’s complexities.
Historical and cultural layers
De Voni weaves in the real‑life theft of former president Tassos Papadopoulos’s body, a scandal that shocked Cyprus and underscored the fragility of national memory. The play also references the lingering shadows of British colonial rule, reminding the audience that the family’s split mirrors a larger societal divide that still resonates on the island.
By invoking the myth of Antigone, the playwright frames the burial dispute as a timeless moral dilemma: should the dead be honored according to state law, personal wishes, or ancestral custom? The characters repeatedly quote ancient Greek texts, creating a dialogue between past and present that feels both scholarly and emotionally charged.
Production elements and performance
Directed by Kerry Kyriacos Michael, the production makes use of Cory Shipp’s stark, traverse stage set, which forces the audience to move around the action and feel the claustrophobic tension between the two families. Some scenes—particularly the heated exchanges between mother and daughter, and the intimate conversations between Jennifer and her second husband, Dominic (Sam Cox)—are sharply rendered, revealing the raw grief and resentment beneath the surface.
However, several characters feel under‑developed. Dominic, for example, serves primarily as a plot device rather than a fully realized person, and his motivations remain vague. Penelope’s storyline, meant to echo Penelope of Homer’s Odyssey, hints at abandonment and resilience, yet the script never fully capitalises on her emotional arc, leaving the audience with a sense of missed potential.
The play’s musical interludes, described by some reviewers as “soupy,” attempt to signal mood shifts but often come across as heavy‑handed, reminiscent of television melodrama rather than theatrical nuance. These moments sometimes interrupt the flow, contributing to a pacing problem that stretches the two‑hour runtime into a ponderous experience.
Strengths and shortcomings
Where Ophiolite shines is in its ambition to fuse ancient myth with contemporary diaspora issues. The dialogue occasionally reaches a lyrical height, especially when characters discuss love, death, and belonging in the shadow of colonial history. The set design, lighting, and occasional moments of stark intimacy succeed in drawing the audience into the family’s turmoil.
Conversely, the play’s intellectual focus sometimes eclipses character empathy. Audiences may find it difficult to connect with the protagonists because the script prioritises thematic exposition over personal nuance. The static staging and the deliberate, almost lecture‑like pacing further dilute the emotional impact, making the production feel more like a symposium than a lived drama.
Conclusion and what’s next
Ophiolite runs at Theatro Technis in London until 22 February. While the production offers a thought‑provoking look at how burial customs can become battlegrounds for identity, its execution falls short of the promise its premise suggests. Viewers interested in modern reinterpretations of Greek tragedy, diaspora narratives, or the politics of death may still find value in the performance, but should temper expectations regarding character depth and pacing.
Why it matters
The play highlights how burial rituals can expose and intensify cultural rifts within diaspora families, reflecting broader debates about heritage and personal autonomy.
Key points
- The central conflict pits Cypriot burial tradition against a British‑style wish for repatriation of the body
- Historical references, including the theft of former president Tassos Papadopoulos’s remains, add political weight
- Strong set design and moments of lyrical dialogue contrast with under‑developed characters
- Musical interludes feel out of place and contribute to a sluggish pace
- The production runs at Theatro Technis, London, until 22 February
Frequently asked questions
What is the main dispute in Ophiolite?
Aristeia wants the patriarch buried in the traditional Cypriot mountain gravesite, while Jennifer argues his dying wish was to be interred in England.
How does the play reference Greek tragedy?
It draws parallels to Antigone’s defiance of state law over burial rites and echoes the Odyssey through Penelope’s sense of abandonment.
Who directed the production?
Kerry Kyriacos Michael directed Ophiolite, using a stark traverse stage set designed by Cory Shipp.
When does Ophiolite close in London?
The show runs at Theatro Technis until 22 February.
