Ancient Greek mythology, while timelessly fascinating, is not always accessible to a modern audience, but as director Stuart Smith shows in the latest production of Paris, when combined with a rock soundtrack, tasteful design and an enthusiastic cast, the epic narrative of the ten-year Trojan War proves almost irresistible - engaging and exciting the audience throughout, and leaving heaving chests and racing hearts as it draws to its tragic conclusion.

Bursting with energy from the outset, this recently reworked rock opera by Jon English and David Mackay, leads the audience through the euphoric highs and devastating lows of Homer’s The Iliad, charting the intricate personal and political manoeuvres of the Greek and Trojan kingdoms, as seen through the eyes of Paris (Jason King), the youngest prince of Troy.

Smith’s artistic creation is both simple and effective, fusing classical Greek theatrical conventions with modern techniques and practices. Despite any concerns that the inclined circular arena, where the majority of the action occurs, may create some potential performance limitations, the throw-back to ancient theatre proves an asset, creating heightened energy in ensemble numbers and the carefully choreographed fight scenes. Indeed, combat proves equally dangerous for the audience and the characters, with a front-row member impaled on a runaway Trojan sword. While props, as such, are scarce, the timely and impressive creation of the Trojan horse is evidence that a cleverly conceived set achieves more than a big-budget backdrop.

Damien Rice’s lighting design enhances Smith’s minimalist set, with tasteful washes effectively establishing appropriate atmospheres. Stepping away from the norm in Menelaus’ (Jon English) powerfully emotional lament, 'Thief In The Night', Rice utilises his lighting design in a way often seen at rock concerts, with bold, flashing lights heightening the emotion of Jon English’s shining moment.

The ‘original star crossed lovers’, Paris and Helen (Casey McKenzie), wife of Menelaus, the powerful Spartan King, valiantly attempt to forge a realistic relationship in the show’s embryonic moments. Rice’s use of a fire motif blatantly suggests the ‘burning passion’ one would assume a relationship of such risk and consequence would entail. Yet the passion and chemistry never seem to ignite onstage, with the would-be memorable love songs falling somewhat short. This, however, is a common side-effect of endeavouring to reproduce ‘love at first sight’, and is no slight on the musical and dramatic abilities of the actors. As an audience that wants to see some action as well as some romance, we are obliged to take the lovers’ word for it.

Effective characterisation instantly delineates the two almighty foes. The Trojans’ strong family and community orientation allows the audience to empathise with Paris’ plight and the awkward situation in which this places his closest relatives and the entire Trojan populous. In stark contrast is the materialism and power-mongering of the big-business Greeks, led by King Menelaus (Jon English) and his brother, the devilishly pleasing Agamemnon (Christopher Hamilton). In their stylishly cynical male sextet, Business, the fabulously diverse voices of the male cast are revealed, resulting in a snazzy, sophisticated exploration of the economic and political advantages of war.

The true test of show-time fibre is as much in the performance of the supporting cast as the main roles. Paris is driven by a host of impressive and mature supporting actors who bring credit and believability to the show. The diversity in the Greek camp, from wise Ulysses (Andrew Godbold), to the warm voice of Patroclus (Ben Stephens), to the truly terrifying, and yet, oh-so-likeable Achilles (Todd Keys) combine to create a tangible sense of power – and one that is constantly jostled between them. Their convincing and emotive characterisation, in concert with striking costume design (Janelle Fischer) lend the Greeks an aura of supreme power.

Musical director Andrew Swan and his band of musicians are a powerful asset. Hidden from view while continuously driving the show in fifth gear, the orchestra manage to delicately balance their power with the importance of the vocals. Indeed, Swan elicits peak performance from all those under his control, with not a weak voice present. The show’s stylistic and generic musical diversity are to the writers’ credit, adding interest and assisting in characterisation.

While the challenge of cramming 10 years of tumultuous history into a two-hour rock opera must be noted, the second act does seem to be almost too emotionally charged. Every song felt like a show-stopper, with little chance for the audience to recover between rounds. Despite the individual brilliance of each number, one can’t help but feel overwhelmed and exhausted by the time the house lights are finally relit.
Nevertheless, comic relief is at hand. The audience are left clutching their sides after the Spamalot-worthy 'Inside, Outside', performed by the three Greek drunks (Stuart Smith, Gareth Davies and Richard Lovegrove), who successfully lighten the mood without detracting from the integrity of the performance.

Overall, Paris is an exciting new take on an age-old story. While no one can deny that the production is dramatic in the very sense of the word, it is the music and its performance that drive the show. With such an enthusiastic cast and well-conceived design, Paris, showing at Laycock Street Theatre, will be appreciated by seasoned theatre-goers and those just seeking a good night’s entertainment.