This is a new play and the first full-length offering from Philip De Voni, directed by Theatre Technis’ Creative Director, Kerry Kyriacos MBE (the former Artistic Director and Chief Executive of Theatre Royal Stratford East). Presented in ‘traverse’ style, with seating on both sides of a central stage, the play uses a sparse but stylish set with a lightbox above the stage to delineate mood. It is delivered through a mix of English and Greek, with surtitles for the Greek dialogue.
Set in Cyprus and England, the play begins in Nicosia with a family reconnecting to discuss where the body of Takis, who lived in London, should be laid to rest. The action spans a seven-year time period, starting in 2009, which is a significant year because this was when the interred body of former Cypriot President Tassos Papadopoulos was stolen from his grave. The parallels are not lost on the play’s protagonists.
Greek Orthodox tradition states that the soul completes its journey to heaven forty days after death. In a formidable performance, Lucy Christofi Christy plays Aristeia, the grieving sister who demands that Takis’ body be returned to Cyprus because of this. She is bitter that her brother left Cyprus to marry and live in London, and blames his widow, Jennifer, played effortlessly by Ruth Lass, as an utterly convincing example of slightly entitled, middle-class Englishness. Knowing Jennifer won’t agree to the repatriation, Aristeia plots a way to bring his body back. As a result, relationships and cultural differences are pushed to the limit with seismic cracks appearing throughout the family.
The first act features sharp interplay between Jennifer and Aristeia with passionate speeches from both characters as they attempt to come to terms with Takis’s death. Jennifer’s English daughter, Penelope, and Xenia, her Cypriot cousin, try to placate their older matriarchs by doing the right thing and acting as go-betweens, but things only escalate. Han-Roze Adonis has a lot to do as Penny becomes ever more central to the play, and she rises to the challenge of giving us what becomes quite a dislikable character. Chrisanthi Livadiotis as Xenia offers excellent prose but is rather static in her delivery, making her seem a little robotic.
The cast is also joined by the dodgy lawyer Kypros Petrides and his attractive Russian secretary, Natalya Sokolova. Both characters add some humour to what is otherwise quite a dark play. Bea Svistunenko as Natalya demonstrates great comic timing and has a surprisingly pivotal role in the proceedings. It was good to see her return in the second act, but I would have also liked to see more of Fanos Xenofos as Petrides.
After a powerhouse first half, Act Two is a big disappointment. Set six years later, it feels much less gritty and realistic as we focus on the relationship between mother and daughter (Jennifer and Penny). The introduction of Dominic as Jennifer’s new husband adds little to the plot. This is a real shame, as the first act is so strong that our expectations are high for the conclusion, and it cannot quite get there.
The play is also let down by what appears to be serious plot confusion. We are informed that Jennifer was married to Takis for nearly 40 years, and that they met in 1973. But we are also told that Penny was born soon after, meaning she should be at least 35 by the start of the play – yet she looks, sounds and acts like a woman in her early twenties. It doesn’t quite add up.
Ultimately, this is a play about how two sides brought forcibly together can result in cataclysm. As explained in the play (and the very informative programme), the ophiolites of the title are rock formations thrust up from the Earth’s mantle by the collision of two tectonic plates. Writer De Voni uses this as a metaphor for the clash of opposing forces: the British versus the Cypriots; family vs kin; duty versus legality. Unfortunately, it also applies to the play itself, with the first and second acts being in opposition to each other, forcing a fractured result.
Review by Fiona Gilbert
Two families. Two cultures. One body.
When Takis dies in Britain, a bitter feud erupts over where he should be laid to rest.
For his Cypriot family, ancient tradition must be respected; for his English wife, a promise he made in life is binding.
Relationships are pushed to breaking point as each side is willing to risk everything in the fight to win.
Can love survive in this kind of family? And can anyone survive this kind of love?
Han-Rose Adonis – Penelope
Lucy Christofi Christy – Aristeia
Sam Cox – Dominic
Ruth Lass – Jennifer
Chrisanthi Livadiotis – Xenia
Bea Svistunenko – Natalya Sokolova
Fanos Xenofós – Kypros Petrides
Philip de Voni – writer
Kerry Kyriacos Michael MBE – director
Cory Shipp – set and costume
Georgijs Gaisins – light and video
José Guillermo Pello – sound and composition
Hannah Miller CDG – casting
Carrie Croft – production manager
Nefeli Kentoni – associate director
Elena Yianni – assistant director
THE OPHIOLITE
Theatro Technis
29 January to 22 February 2026
