Review: BLOODSPORT: AFTER HELEN OF TROY, Stratford East
Photo credit: Tristram Kenton
Greek Mythology is having a moment. The Odyssey packed out cinemas this summer, as has The Oresteia at The Bridge Theatre. Now it is the turn of Ava Pickett, who received rave reviews for her debut play 1536, to reimagine the story of Helen of Troy for 2026 audiences.
Directed by Lisa Spirling, Bloodsport: After Helen of Troy grabs you instantly with booming music by Nicola T Chang. The play opens with a stirring monologue by the magnetic messenger (Ethan Moorhouse) who narrates with show imparting vital context and ensuring we know that this is a new England, Essex to be exact. The intensity continues and is told in real time in just over two hours, Bloodsport whizzes along with twists and turns that will have you on the edge of your seat. The play features fast paced, witty and intelligent dialogue that has no shortage of fruity language but avoids feeling gratuitous. The passion of the characters, and cast, is undeniable and the writing is full of sharp and powerful parallels between Greek Mythology and modern societal dynamics but is also incredibly funny.
In a violent world, no one wins and this is what Bloodsport demonstrates. The heroes and villains are blurred and the protagonists are complex and flawed. In this tale, Helen has not returned from Troy but instead a 10-year journey around England with her lover Paris, as her husband Marcus and his brother Mario tear the country apart searching for her. We learn that Paris is foreign and this provides the basis for a dark commentary on the treatment that minorities can be subject to in this country. In a time of Reform, racism and misogyny, Helen and her childhood best friend, Cee, are victims in different ways but Pickett is sure to not absolve them of blame for their actions. While a war was waged in Helen’s name, Cee stays at home in her pristine cream house, beautifully designed by Polly Sullivan. This is seen by Helen and especially double agent Dani, Cee’s cleaner turned Helen’s new vigilante side kick, as taking a side but fear should not be underestimated in how it influences people’s decisions. It is Dani who delivers the shocking final blow at the end of play and perhaps the action is wrapped up too quickly in the aftermath, given the level of preceding tension and moral conundrums.
Laura Aikman and Michelle Dockery expertly lead this production. They are two sides of the same coin, ying and yang, and are dressed in a gorgeous sparkly white dress with hot pink heels and black combat gear to emote this. Aikman’s Cee brings much of the comedy, her endearing naivety leads her to think that champagne and mozzarella sticks are the perfect way to celebrate the end of ten years of civil war and unknown casualties. Dockery is dry and calculated, a hardened woman set on taking revenge. Gerard Monaco and Jay Taylor play Mario and Marcus who embody different types of weak men. Both should be applauded for their drunk acting and their portrayal of the repulsive but recognisable conviction that women were the cause of their horrific actions. Maimuna Memon is excellent as no nonsense Dani, epitomising a younger generation of women who reject traditional values and protect their agency at all costs.
A woman saying no is violent, but it shouldn’t be. Once again, Ava Pickett has written a powerful and relevant play which uses a tale as old as time to interrogate the state of society and challenge us to recognise how our morality has regressed. This is an excellent example of a modern telling.
**** Four stars
Reviewed by: Sophie Luck
