It's not an inspection, the spectacle at Beaceio. It is a joyous ceremony, a joyous parade (and literally) of codes and formulas, concepts and practices. Triumphs and upsets, divisions, misery, vendettas, pride and disappointment flood the stage. A panorama, a construction with a warm and liberating discourse and that “cunning” dose of national exoticism that carry types and situations easily recognizable and therefore acceptable.
The drawn line that defines the show from beginning to end includes multiple centers of interest, the connective fiber of which is not always evident, since characteristic phases from the entire biography of the modern Greek state are not included (as the title suggests), but rather it takes a leap from the revolutionary period to the current reality of the pandemic - with the exception of the skit with the parade of characteristic moments of the post-polity. The writing of inspection-type texts by several people is a risky undertaking. Here, the dangerous burden was taken on by good writers, but they did not “meet” in all cases. But isn't Greece such a mess anyway? Eccentric, contradictory, disappointing, always, however, charming.
In the many unequal texts, the competent director, Dimitris Karantzas, gave unity. He followed the standardization of the popular theater, but he made those additions and those subtle alterations that give the show its distinct identity. He set up a direct, crucial, simple but not digestible theatre, based on popular form and presupposing popular participation. At the same time, he set up a political theatre, aiming at social and politico-economic topicality and using the usual satirical method, hyperbole, to expose social contradictions. The spectacular element, although not missing, does not seem to be the point. There are no ordinary ballets and multi-member orchestras of the inspectorate. The weight falls on the text and on the worthy actors. These are masters, craftsmen and creators, the instrument and the virtuoso together! The movement, the plasticization of speech, the transformations (Gianna of G. stands out here. Bed), they reveal the smart choice made at the casting. In great spirits N. Karathanos and the renewed E. Kokkidou, unrestrained G. Niarros, consistently good M. Economou and G. Chatzipashali and a pleasant surprise by G. Koukourakis.
When it comes to music, Phoebus Delivorias does not introduce something new and unknown, but steps on familiar melodies that evoke associations, associations and analogies. It is clear that music copies are not attributed to lack of inspiration, but to conscious tactics, in order to create emotional bonds with the audience and for the sound to act as a reference.
He has a melancholy grace always to the inspection. The moment its most life-giving juice bursts out with a raucous laugh, at the same time, and despite the fake jeans and plastic ornaments and wigs, you have the certainty that what you see is anything but deceitful and fake. And then you give her your loudest applause. After all, you owed it to her for so many months now.