Richard II The King is dead

oδc ensemble
RICHARD II: The performance 
“Don’t miss it! A performance that makes us believe that 500 years ago Shakespeare was actually writing for Greece in crisis” Xristos Eleytherotypia, daily journal.
“One of the best Greek actresses of out times in the role of Richard. A total theatre experience, an outstanding achievement” Ioannides, Efimerida Sintaktvn, daily journal
“Overwhelming imagery full of historical references” Ileana Dimadi, Athinorama, weekly art guide
 “One of best Greek performances of the last years. Theatre at its best!” Konstantinois Tzikas, Athens Voice, free press
“A life-time experience. I’ll never see theatre the same way” Anastasis Pinakoulakis,

Shakespeare meets Greece in crisis and the result is a total blast!

After last two incredible successes of avant-garde director Elli Papakonstantinou and her company ODC Ensemble -performances “META” and “SKIN”- two shows that brought upside-side-down the Greek theatrical scene, ODC Ensemble presents “Richard II”. A total theatre experience that met full houses for 50 performances and made audiences believe that Shakespeare is in fact speaking out for the Greeks. 
«Richard ΙΙ» is an engaging, interactive performance for the arrogance of power. “Vyrsodepseio” is transformed once more. The spectator floats into visual installations inspired by the world of Francis Bacon and panoramas of a city in tear-gas. This riveting theatrical experience obliges both spectators and actors to be actively present. What do spectators reserve for their own Richard? Will they lynch the politician? Will they suggest a way out?
Greece: 2014. The Middle Ages, here and now. "Which is easier to collapse? A Shakespearean scene or the Greek Constitution?"
Concept/Directing/Adaptation: Elli Papakonstantinou
Translation: K. Karthaios
With: Andrian Frieling, Meletis Ilias, Aglaia Pappa, Valia Papachristou
Set/Costumes: Telis Karananos, Alexandra Siafkou
Music composition: Tilemahos Moussas
Light design: Andrian Frieling
Produced by: OΔC Ensemble 

Reviews for RICHARD II 

“Richard” is another political performance which in its own way stays absolutely faithful to Shakespeare. Even if the play’s 30 characters are interpreted by just 4 actors in an endless sequence of change (…) We are entitled to make use of all, when it all serves a purpose: the charm of the theatrical game. And it is all thrown into the fire and burned inside us like a wild and purgative experience. Isn’t this what Shakespeare is all about? [...] The process of this maturity touches us all in Vyrsodepseio: roles, actors, spectators. We shift, that’s all that matters: we shift. [...] Here theater filters real life: We start by “reading” Shakespeare through the eyes of peoples of today. And we end up “reading” people of today through the eyes of Shakespeare. [...] Everything in the directing of the play is pure Shakespeare. Including the rock –n-roll aspect, the wild lyricism, the fragmentation, the thoughtful violence, the rhetoric and scattered character, the  humor and surprise. All these aspects don t lead to Shakespear: they spring from him. During the last half hour of the performance – after the magnificent idea of moving the audience and the action from one space to the other (and to another level altogether)- is one of the best moments in our theatre in the last years.
Ioannidis Grigoris, The Editors’ Daily Newspaper, 12/05/14
“You’re left with the sense that you have just experienced a unique two-hour journey; here, we talk about baroque theater, rich with ideas, ... and imagery that refers to paintings but also to Peter Greenaway’s cinema, with an overwhelming atmosphere, ritualistically Medieval, obscure, but with the right tone of self sarcasm.
Constantine Tzikas, Athens Voice, 24/2/14

“Richard, rock and baroque”. There is almost everything in this political and poetic performance directed by Elli Papakonstatinou: burlesque, circus, songs, tableaux-vivants; but also interaction, as the spectator is urged to lynch the king.
In the big scene of the industrial “Vyrsodepseio” light with fires and surprising tableaux vivants are created with the characters taken from Renaissance paintings and Illusionism, such as “The Assassination of Marat”, “The Last Supper”, while on stage torches light up…  
Efi Marinou, The Editors’ Daily Newspaper, 11/03/14
“Richard ΙΙ meets Elli Papakonstantinou” in an adaptation which, sticks to the original Shakespearean text, while following metaphorically the route of power and the “blind game” and straggle to get it. These take place at “Vyrsodepseio”, Elli Papakonstantinou’s artistic house, since 2011. Here, … the director creates impressing images that the actors interrupt with a sharp sense of political satire, strong instructiveness with the other actors and the audience, humor and speculations that stick to one’s mind for ever. Personally, I feel that I have never been exposed to such a theatrical experience in my life. And that made me understand something: in the end, there are no boundaries whatsoever, as to what you can do in theater, as long as you ‘re open towards the play, yourself and the audience.
Anastasis Pinakoulakis, PAME  THEATRO,, 23/3/14

The leading part rightfully granted to Aglaia Pappa.
She IS Richard II. The character, as much as his crown - an actual cage covered with feathers, that blocks face and believes- locks perfectly on her…She is amazing into her safe arrogance of power, as much as uncontrollably desperate and revolutionarily intact during her fall and humiliation. At the same time, Meletis Ilias shows a different, not comfortable side of Bolingbroke. With his unique talent as a circus ringleader or a manipulative politician, he handles and shifts the audience’s perception to an extend that we confuse the “good” and the “bad” of the play. History is not necessarily what the winners write, but what the audience falls for.      
Manolis Vamvounis,, 7/4/14
Friday 21:00
Saturday 21:00
Sunday 20:00