Show: Domitius
Location: Edinburgh Fringe Festival 2022 (online)
Date: August 2022
Running Time: 1 hour 40 minutes
Writers: Henry Gu Cao, Lux Knightley & Luke McCormick
Producers & Directors: Bethan Carys, Lux Knightley & Luke McCormick
Choreographer: Bethan Carys
Performers: Max Himmelreich, Nicolle Smartt, David Malcolm, Hannah Kiss, Matt Colyer, Stewart Briggs, Judy Blu, Mahalia Fontaine, Tom Driver, Reece Raymond & Ben Gad-Briggs
Humorous, histrionic and honest, Domitius is a musical for the history lovers amongst us. With an interesting musical score and hilarious pop culture references slotting cleverly into the story, Domitius is an exciting new artwork to keep your eyes on!
Background and Story
Set in Ancient Rome, Domitius tells the story of a young roman named Nero who inherits emperorship but dreams only of public adoration and performing the arts. The musical focuses on this lesser-known desire of Nero the Roman Emperor and we see the tragic unfolding of his obnoxious and arrogant reign as he uses his power to force his people to spectate his poetic performances.
The musical opens on a fierce group number that introduces the story and each integral character whilst giving a glimpse of what is to come. Huge drama grows as Claudius, Nero’s father-in-law, dies. His mother-in-law Agrippina appoints Nero as the new emperor, but we already know he has little interest in politics, unlike his brother-in-law Britannicus. Livid that his birthright has been stolen from him, Britannicus slanders his step-mother and hates Nero.
After seeing that Nero is concerned only for his own desires and realising he is unmoveable, Agrippina changes her mind about supporting him. She no longer has influence like she did before and she threatens him about his affair with Poppaea. Seneca, Nero’s advisor is also concerned, but for better reason, and has nightmares about Nero’s rule. Nero’s wife Octavia confronts him and questions his focus on the Empire. He denies loving his mistress, Poppaea, but Octavia hardly feels love from him and she knows the only thing he truly adores is his own art. His rule causes death and destruction, but the details I will leave unspoilt!
Performance
Nero (Himmelreich) is charismatic and cheeky; his vocal trills are brilliant and I was suprised by the unexpected shots of falsetto that burst from him. I would say he is slightly Freddie Mercuryesque in presentation and quirky movement! His energy is bouncy and, somehow, he manages to keep the audience from despising him as the rest of his empire eventually do.
Domitius is full of emotion and dramatic direction. Overlapping choral parts crescendo the musical numbers and elevate the performance and the clean synchronised ensemble choreography moves from fluid to sharp and even tormented, mirroring the focal character’s expression.
Agrippina’s (Smartt) solo is strong and passionate. Lucan’s (Malcolm) rap solo performance was also noteworthy for its captivating intensity. The final scene, however, was my favourite. Nero, frozen in position- a strong image with his sword held horizontal infront of him- sees everyone whom he has wronged surround him. In an imaginative display each character steps forward and sings of their experience with Nero. We are left with two poignant final words.
Domitius is not a shy musical! A cheeky play on the catchphrase “He came, he saw, he conquered” was a memorable moment. Synchronised shimmies were a comedic highlight also. The props and costume are creative and bring a touch of this century humour into a first century story production.
Summary
Domitius is a fresh expression of Ancient Roman history; it entertains whilst educating its audience on a famous figure but from a new angle. With musical influences spanning the eras, its fusion of theatrical ballad and rap alongside its clever script, thoughtful, emotive direction and passionate performance make Domitius an exciting and flavoursome production.
Domitius Links
To find out more about Domitius, check out their website here!
