By Anne Richmond

Central Park’s open-air Delacorte Theatre, reminiscent of the amphitheaters of ancient Greece, is the perfect setting for Euripides’ The Bacchae, presented by the Public Theater’s Shakespeare in the Park. On a recent summer evening, the air was sweet and warm and the playing space vast and mysterious, a single plume of mist sprouting from a large crack in the stage, creating a sense of foreboding and mystery.

Jonathan Groff, familiar to musical theater fans from his performance in Spring Awakening, roams the stage as Dionysus, son of Zeus, who has returned to his native Thebes to avenge the death of his mortal mother, Semele. He pulls various articles from a large case, placing them about the stage. He washes an animal’s severed head and splashes about in the shallow pool of water that rings the front of the stage. He dresses in jeans, a white shirt and a leather jacket, taking on a James Dean quality, simultaneously winning and dangerous.

James Conklin’s abstract set is reminiscent of ancient Greek architecture, but the modern silver playspace conveys the impression that this production will present something fresh. The action is set on Semele’s grave, symbolizing the fact that the very godhead of Dionysus is at stake in this story. There is also a dazzling moment when the grave bursts into flames at the back of the stage. It makes for a stunning stage picture.

David Neumann’s exciting choreography, the heart and soul of this piece, is executed artfully by the chorus of Bacchan women. They traverse the stage in rhythmic punctuation of the text, evoking ancient performances where the chorus emphasized the rhythm of the verse lines by stomping across the stage in large shoes. In place of the stomping, Neumann punctuates the verse with shapes and tempo of movement. His choreography was magical when it came together seamlessly with the production design and the text, as in the moment when the women wash themselves in the pool, lit only by dim lights showing through the shallow water.

The costumes, by Kaye Voyce, at times unconventional, as in the choice of glittering pants for the prophet Teiresias, always work with the style of the piece. Their color brightens the stage and brings a vivacity to the chorus that is unusual in Greek drama.

Rocco Sisto’s turn as the Messenger at the climax of the production is heart rending and dynamic, but the presence of the women on stage almost overshadows his brilliant performance. George Bartenieff as Cadmus shines in his charmingly befuddled scene with Teiresias, played expressively by Andre de Shields.

Euripedes is a challenging undertaking. While this production of Shakespeare in the Park has its shortcomings, it is still visually gripping. And nothing can beat that outdoor setting.

The show runs until August 30th. For more information on this production see www.publictheater.org

By Anne Richmond