WHAT’S IT ABOUT? – Charlatan or sage? Is Socrates really one of the most ethical figures in the history of western civilization, an extraordinary man searching for justice, a student of the human condition who will inspire many of the world’s greatest thinkers throughout the ages? Or is he a fake and a cheat who deserves to be put to death for his corrupting effect on so many young people, some of whom went on to betray their city in time of war. How shall we decide?

In this exciting production - in which audience members get to vote as jury members - old questions and values are given an essentially modern interpretation and dilemmas faced become remarkably telling in this post-911 age.

Socrates on Trial is based on Aristophanes’ bawdy comedy Clouds and several of Plato’s dramatic dialogues, but given a contemporary and pithy twist by UBC’s Andrew Irvine. (Socrates on Trial was published in 2008 by University of Toronto Press, review copies are available).

THE PLAYWRIGHT: Andrew Irvine
Andrew has taught the story of Socrates to his students at the University of British for many years. He is a Professor in the UBC Department of Philosophy, a Killam Fellow, a Canadian Commonwealth Fellow, and an elected member of the UBC Board of Governors. His script was workshopped last year and, after a few revisions, and the addition of a third act, went on to be published by University of Toronto Press in 2008.  (It is that script that this performance uses.)

“The Greeks are just such modern writers,” Prof Irvine says. “They struggled with exactly the same kinds of problems we struggle with today:  What’s the role of government? How democratic should our institutions be? What’s the importance of family? Should you pay taxes to subsidize the Olympics? All of these ordinary, day-to-day problems that we struggle with, they struggled with, too.  So they come across as very modern people who speak to us”.

THE DIRECTOR – Joan Bryans
Joan is delighted that her two interests, philosophy and theatre, have come together in this production.  Her interest in philosophy was heightened after an early meeting with Sartre at the Deux Magots in Paris in the late 50’s but it took 20 years to get her enrolled at university, another ten to get  her PhD, and another ten for her to retire from teaching, and to concentrate on her increasing involvement with theatre.  Starting out as an actor, she became in time, producer, director and most recently playwright. Joan is founder of Vital Spark theatre.

THE STAGING – Notes from Director, Joan Bryans
I’ve taken this play out of 5^th century Athens and placed it in a very modern, urban environment.  Act 1 – where the “bad” Socrates hangs out – is set in an urban wasteland where drugs and gang wars are frequent.   This helps to get across the charge that Socrates was found guilty of  corrupting young people. He is seen taking innocent youngsters and inducting them into a life similar to those around him. 

Act 2 – which is the trial of Socrates, is set amidst the trappings of the state.  The state is all-powerful and, amid hints of both treason and debauchery, ultimately wins out, no matter how strongly Socrates pleads his case.   After the sentencing there are moments of great beauty as Socrates gives a sort of Sermon on the Mount to his followers when he talks about heaven and what it must be like.  It’s sheer magic!

Act 3, which takes place in Socrates’ prison cell, sees three temptations being put in his way.  An old friend has arranged a means of escape, his  wife reminds him of his family ties, and even the executioner offers him a slight  extension of life – but an extension with no purpose (and for a good Greek life must be lived to a purpose).  With moving simplicity Socrates rejects them all.

Even so, this is not a tragedy.  Socrates dies, as he must.  But the play argues that what is most important is a life well lived.   Socrates leaves his friends observing  – “Bad things can’t happen to good people, Not when they’re alive and not when they’re dead”

NOTES FROM THE STARS:

Dave Campbell – The “bad” Socrates.
“I find this play very, very interesting.  It does a Roshomon treatment of Socrates character.  Act 1 explodes the myth of Socrates as a kind of holy man – it makes him very human.  He’s a very passionate individual, and he doesn’t hide it.  He’s very up front.  When he’s happy he let’s the world see that he is, when he’s hungry he eats -a simple but dangerous approach to life.”

Paul Toulin – The “good” Socrates
“The Socrates I play is obviously a very charismatic individual – young guys follow him around, hang on his every word and find him exciting.   But that’s not his fault!  He is incredible uncompromising – I’m different from him there. But I’d like to think I share his sense of humour.  He has a wicked sense of humour with a bit of a cruel edge.  Should I admit I like that?”

Socrates on Trial also starts  James Gill, Steve Baumber, Meg Brock,  Luke Day, Erin Davies, Sara Dickhout, John Harris, Daryl Hutchings, Amanda Konkin, Kuei-ming Lin, Meta McLeod, Shaun Omaid, Vanessa Parent, Nola Semczyszya , Fez Skala, Arash 'Freedom' Virani and Anthony Walmsley.

Original music is composed by Michael Rummen, lighting design by Mimi Abrahams, sound by Darren W. Hales, set by John R. Taylor, costumes by Catherine E. Carr, and stage management by Laura Moore.