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Iphigenia in Splott
- Narrated by: Sophie Melville
- Length: 1 hr and 50 mins
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Iphigenia in Splott
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Winner of UK Theatre Awards Best New Play, 2017
Winner of James Tait Black Award for Best New Play, 2017
Nominated for Drama Desk Outstanding Solo Performance, 2018
New York Times Critic’s Pick
Iphigenia was Agamemnon’s daughter, sacrificed by her father to ensure a fair wind to Troy and to further the ambitions of men. But who are the Iphigenias of today, being sacrificed in the pursuit of growth and profit? Seeing the heart torn out of your community and services cut is like having your tongue put out.-The Guardian
Our favorite moments from Iphigenia in Splott
- Iphigenia in Splott
- By:Gary Owen
- Narrated by:Sophie Melville
- Iphigenia in Splott
- Ladies and gents, I’ve come to collect.
- Iphigenia in Splott
- I see him seeing me.
- Iphigenia in Splott
- As on my own as I can be.
- Iphigenia in Splott
- I remember shouting like that.
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About the performer
Sophie Melville professionally trained at the Royal Welsh College of Music & Drama. From there, she went on to star in a number of theatrical productions including Blue, Close Quarters, Pops, No One Will Tell Me How to Start a Revolution, The Divide, and Pagans, performing in theatres ranging from the Old Vic in London to the 59E59 Theaters in New York City. Her 2016 performance in Blackbird earned her the Wales Theatre Award for Best Female Performance, adding to the multitude of awards she won for her role in Iphigenia in Splott, which included the Stage Award for Acting Excellence at Edinburgh Fringe, the Wales Theatre Award for Best Female Performance, and a Drama Desk Award nomination for Outstanding Solo Performance. Melville has also featured in the sci-fi comedy Canaries, as well as several television shows, including the BBC Three-commissioned The Left Behind and BBC One’s The Missing.
About the author
Welsh playwright and screenwriter Gary Owen is the creator of a number of highly acclaimed productions, including the Olivier Award winner Killology, which premiered at the Sherman Theatre in 2017, Violence and Son, which had its premiere at the Royal Court in 2015, and 2015’s Iphigenia in Splott, winner of the James Tait Black Prize for Drama. His other works include Love Steals Us From Loneliness, Crazy Gary’s Mobile Disco, The Shadow of a Boy (which was awarded both the Meyer Whitworth Award and the George Devine Award), The Drowned World (winner of the Edinburgh Fringe First Award and the Pearson Best Play Award), Ghost City, Cancer Time, SK8, Big Hopes, In the Pipeline, Blackthorn, Mary Twice, Amgen: Broken, Bulletproof, and Free Folk. He has also adapted several plays and musicals for both the Royal Welsh College of Music & Drama (Spring Awakening and Ring Ring, a new version of La Ronde) and the Sherman Cymru (A Christmas Carol). In addition to his position as an associate artist at Sherman Cymru, Owen is also a creative associate at the Watford Palace Theatre, where his plays We That Are Left, Mrs. Reynolds and the Ruffian, and Perfect Match have been produced. He is the co-creator and co-writer of two seasons of Baker Boys, a BBC Wales original series.
About the director
Rachel O’Riordan recently joined the Lyric Hammersmith in London as their Artistic Director and Joint Chief Executive. Prior to this, she was the Artistic Director of Cardiff’s Sherman Theatre, where she has directed The Cherry Orchard, Killology (a co-production with the Royal Court Theatre in London); The Weir (a co-production with the Tobacco Factory Theatres in Bristol); Bird (a co-production with the Royal Exchange Theatre in Manchester); A Doll’s House; Iphigenia in Splott on its UK tour and at the National Theatre; Romeo & Juliet; and Arabian Nights. Killology won an Olivier Award for Outstanding Achievement in an Affiliate Theatre and was the first co-production between a Welsh theatre and the Royal Court Theatre. Iphigenia in Splott won both the UK Theatre Award for Best New Play and the James Tait Black Prize for Drama. It was the first production by a Welsh producing house to transfer to the National Theatre. Under Rachel’s leadership, the Sherman Theatre became the first theatre in Wales to win the Stage Awards Regional Theatre of the Year title in 2018.
Rachel’s work has been performed internationally. In 2018 Rachel directed Come On Home at the Abbey Theatre in Dublin. In 2017 Iphigenia in Splott was performed at New York’s Brits Off Broadway season and was the only production by a UK company to be selected to be part of FIND Festival at Berlin’s iconic Schaubühne. She has recently worked for the British Council in Kiev, developing new artists. Before joining Sherman Theatre, Rachel was Artistic Director at Perth Theatre in Scotland. She holds a PhD from the University of Ulster.
Critic reviews
"Rachel O’Riordan captures the play’s many tonal changes in her production, which is fluid and textured." (The Stage)
Sophie Melville introduces Iphigenia in Splott
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What listeners say about Iphigenia in Splott
Average customer ratingsReviews - Please select the tabs below to change the source of reviews.
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- mum
- 14-04-19
Well good!
At first, my eyebrows were more than just raised, they were practically popping off my head! The language is ripe; extremely so. F’ing and jeffing. However, the character of Ephi draws you in, makes you want to learn more about her, her situation, her life. She is on a one woman mission to self destruct, depicting herself as foul and vile and base. Through the drink, drugs and casual sex, a lost and lonely character is revealed. Her story is a tragic one; one of loss and the inevitability of being alone and misunderstood.
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- LP
- 11-04-19
Excellent
Really enjoyed this play. From initially hating the character to having great sympathy for her. Quite emotional at times and a very thought provoking finish. Recommend!
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- MR W Daly
- 03-04-19
Simply brilliant
Could not stop listening. Brilliantly writen brilliantly performed not for the easly affended.
Highley recommended, one you will listen too again and again.
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- ABHISHEK VATSA
- 05-04-19
Brilliant Immersive experience!
If you're undecided, don't. This play keeps you hooked on & guides you through a very intense experience. Highly recommended!
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- angelacole
- 25-03-19
Amazing
I listened to the story as I did not have anymore credits, what a blessing. I thought it was amazing thought provoking, emotional and brilliantly played I did not want it to finish.
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- Aisling
- 17-06-19
5 stars is just not enough!
This is a powerful play, brilliantly performed. The story stayed with me long after I had finished listening to it. The actor brought the character to life in sparking 3 dimensions. She plays the most obnoxious person but gradually you can't help getting to like her and feel for her.
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Overall4 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- Eimear
- 03-01-22
.
the start of this was very different to what I was expecting so it took me longer to get through that than I thought but I'm glad I stayed listening
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- Miss Helen F Saxton
- 17-04-19
incredible
An incredible story full of emotions. Well written and an astounding performance. I would highly recommend.
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- Oz47
- 10-03-20
impactful drama
superb writing and acting. a brilliant tale of modern morality and the real impacts of austerity and it's disproportionate impact on the lower and working classes.
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Overall5 out of 5 stars
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Performance5 out of 5 stars
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Story5 out of 5 stars
- Simon Ballinger
- 26-07-21
Powerful, angry play for austere days
Compelling performance by Sophie Melville who completely inhabits the character of Iphi. Hard to listen to at times but that’s the point. The play gets you in the guts, as you feel Iphi’s raw, angry emotions and pain. I especially liked Sophie pausing at pivotal points as the listener waits with anticipated dread to hear what will happen next. Superbly written story by Gary Owen with a political message as relevant now as it was seven years ago.
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