One of the hallmarks, and indeed joys of the Adelaide Fringe is that it is proudly non-curated theatre that embraces diversity in all of its forms. Drawing on Euripides Greek tragedy, interwoven with contemporary themes and images, the Riverland Youth Theatre (RYT) presents a party on stage, reminiscent at times of the gentle flower power of the 1960’s and 1970’s juxtaposed with the hedonistic violence that is associated with Greek mythology and the strutting and posing of the powerful gods. The Bacchae is considered to be not only one of Euripides's greatest tragedies, but also one of the greatest ever written, modern or ancient, and this version is action packed and fast moving.

Directed by Fleur Kilpatrick, the cast of 10 neurodivergent country teens approaches this show through a lens that explores safety for gay teens, power, vulnerability and joy. It challenges adults and teens alike to embrace difference and celebrate uniqueness. It confronts the traditional fear of the power of women; think female only Greek and Roman temples, witches and crones, and the brutally violent lengths that men, over time have gone to control this.

I recommend a quick update on Greek mythology prior to attending the show. So, who is Dionysus in Euripides? Dionysus is the god of ecstasy, wine, and one of his special powers was the ability to drive mortals insane. Interestingly, he is also the god of theatre. Dionysus, camped up in this production by Owen Stokes, at the beginning of the play proclaims that he has arrived in Thebes to avenge slander, which has been repeated by his aunts, that he is not the son of Zeus. King Pentheus of Thebes, well played by Rowen Hurrell, is Dionysus’s cousin. To prove that he is a god, Dionysus introduces Dionysian rites into the city and wine, women and song prevail. When spoilt Dionysus is somewhat thwarted, he spies upon a group of women revellers in the forest and uses his powers to inflict madness on Pentheus’ mother Agave, a moving performance by Sophie landau, who (spoiler alert) rips off her son’s head and tears him limb from limb. Not a happy family get together.

The Bacchae five-person production team has created a minimalist set that serves the story well. Costumes by Li Ingle, are simple and colourful, giving each character a distinct personality. Keira Simmons has experimented with some of the off-stage sound effects which I found indistinct and distracting.

A tip for audience members is about seating. Much of the dialogue, particularly that delivered lying down is not easily heard and some is delivered fast or not front on, so try to sit close to the stage.

I also thought (spoiler alert) that tossing tampons into the audience was superfluous and confusing for the audience, some of whom thought they were sweets.

The future of theatre is in the hands of our young people and this rollicking, enthusiastic outing in ancient Greece is entertaining and an opportunity to enjoy performers of the future having a ball!