REVIEW: Hecuba – at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Thursday, September 17 to Saturday, October 17, 2015.

DEATH and destruction is all around in this tragic and barbaric end to the civilisation that was Troy but the audience witnesses just one loss of life.

Marina Carr’s fresh approach to this extremely old tale by Euripides - from way back in the misty times of Greek mythology - relies mainly on reported speech as the pivotal cast members self-narrate all that has happened and is happening .

There are vividly painted portraits of the lifeless bodies, limbs and heads hacked off by the ghoulish Greeks, fires ravaging the city and the fortunate ones who survived sharp blades being taken into slavery on board warships.

It’s descriptive, with dribs and drabs of events enacted, and what a powerful impact those words have. The pen is mightier than the sword but it appears a close run thing where those ancient Greeks were concerned.

The Irish playwright’s Hecuba, stunningly played by the ever impressive Derbhle Crotty, has Troy’s queen the victim as the hordes wreak havoc. She garners our sympathy as she loses her close family but is still capable of a spot of scheming no matter how heavy the odds are stacked against her.

A powerful performance too in stage presence from Ray Fearon - voice, muscular body and movement all befitting the King of the Achaeans, Agamemnon, who brilliantly juggles his conscience as the the leader of the Greek coalition forces and their primitive beliefs and demands.

Fine performances too from Nadia Albina and Amy McAllister as her daughters Cassandra, who has the power of prophecy, and Polyxena, who bravely submits herself for sacrifice to stir up the winds after the invasion fleet is becalmed. Not that she really had much choice!

What appears to have become standard in recent years with RSC productions sees this one again simply staged - the barest of bare when it comes to props and dominated by two items. These are Priam’s less than grand wooden throne and a row of large curved mirrors.

On reflection not much more was needed due to all the descriptive prose. To a degree it worked but more enactment would not have gone amiss.