'huge, queer and tawdry' but 'much admired by the public'

The Bacchae opens with Alan Cumming's arse descending from the heavens, upside down. And a very nice arse it is too, so fair enough. All these centuries on, Greek tragedies are a damned hard thing to get right; if you've never seen a cod-Shakespearean translation staged with dusty solemnity by an am dram shambles, then count yourself lucky. You need to balance the stage as the distant place in which the story unfolds, and the stage as the platform from which a speaker interacts with the audience. You need to balance the alien with the intimate, and only an incredibly rare director will be able to do both sides full justice. So maybe this production doesn't quite capture the strangeness and the terror - the music for the Bacchae's chants would need to be catchier for that, and just generally *more* - but it has the intimacy, the immediacy. And that's all down to Cumming, and the masterstroke of playing Dionysus as a pantomime character. Or two, perhaps - he's a hybrid of the Dame and the Principal Boy. I suppose he's the father of carnival, isn't he? So they're both his children, no wonder if we should think he resembles them both when really it's the other way around. And at times the staging catches glimpses of his power - you can feel the flames which burn Thebes, and the light when he appears in all his pomp is genuinely dazzling.
Translator David Greig has his tone about right (I particularly like his use of 'The Scream' rather than 'The Roarer' as one of the god's names). It's a long time since I read the play, but I don't recall it being quite so one-sided when I did - or rather, I knew that *I* was entirely on Dionysus' side, but I thought that was as much me as the text. Now...well, as Greig says, "There are still men who would control women in order to bolster their shaky sense of self. There are still men who are lost because they refuse to lose themselves in dance." He could add that some such men are also obsessed with male pride, and absolutely petrified of alcohol and 'corrupting influences' of the wider society, just like Pentheus. So for all that I liked Pentheus as the no-nonsense Scot unaware what a nonsense it is to resist Dionysus, I think the times and the translation would have been better served by dressing him as an imam.
My biggest problem with the play, though, is one I'm sure was in the text, but which I never really noticed, because when you're reading a play, you can...if not skim the bits you don't enjoy, then at least read them faster. Staged in front of you, there's no fast forward. Once Pentheus gets his come-uppance, once the others who slighted Dionysus and his mother get their just desserts, they don't half spend a while wailing about it. Look - I don't care. You were idiots. You had warnings, and still you stood against a god - and not just any god, but an incredibly cool god. Now you have been destroyed, as puny humans will be in such circumstances. And you were miserable sods, so I'm glad. Where's the tragedy? This isn't Shakespeare, or even Sophocles, where people are trapped impossibly between contradictory imperatives which must all be honoured. This is more like the end of The Wicker Man - ie, party time.

Speaking of puny humans, a marvellous quote I keep forgetting to post:
"At moments like this I hate being an unreconstructed human - an island of thinking jelly trapped in a bony carapace, endless miliseconds away from its lovers, forced to squeeze every meaning through a low-bandwidth speech channel. All men are islands, surrounded by the bottomless oceans of unthinking night."
- Charles Stross, Glasshouse. The speaker is a future human used to being able to swap bodies quicker than we'd swap outfits, confined by lunatics to a normal human body in a re-creation of the 1950-2050 Dark Age.