The play Baraki was replete the competent acting capacities of the ensemble, the finesse of a great singer, a solid design and the intrinsic skills of the director Tony Nikolakopoulos.

<p>They do not understand the depth of meaning of identity, in other words the tourist cliché of Greece being a fun happy place to enjoy clubbing whilst it is sinking in the quagmire of its own economic irresponsibility …f*ck politics lets dance!</p>

It is overall, a coherent well produced theatrical event that entertained the cross generational audience, albeit with a strong attendance of the young and educated, who obviously enjoyed the evening.

Baraki has a New York type stories structure where the characters reveal their own pain or sadness, or aspirations, as they gathered in a bar in an inner Greek suburb in Sydney. Ironically the multilevel storylines intersect weaving a complex vision of identity politics, desires, new sexualities, nostalgia for Greece, or perhaps a new Greece of hedonistic pleasure.

The ensemble of Chris Argirousis, Veronica Clavijo, Giorgios Samartzis, Melinda Kladas, Tasoula Kallenou and Dimitra Tzodouris did well to inject humour, pathos and even sex into the work.

As a reference the music of the Greek ‘New Wave’ of the 60s inspired by French boite music embroiders the play. What intrigues is the idea of overt and covert hypocrisy that exists within Greeks and Greek Diaspora.

Everything from guilt of failure, to refusing any responsibility for Greece when it needs the Diaspora most …when it is economically failing. The characters identify with the hubris of being Greek, yet they acknowledge their Australianess, but only when they refused their Greekness.

Otherwise, they identified being Greek when it suited them. This is a luxury of the Diaspora and of the perennial Greek tourist returning home, (so to speak), but knowing they are now hyphenated and they are only there for a short time.

They do not understand the depth of meaning of identity, in other words the tourist cliché of Greece being a fun happy place to enjoy clubbing whilst it is sinking in the quagmire of its own economic irresponsibility …f*ck politics lets dance!

The play is clearly a statement of the new generation’s desire to be Greek but only a certain Greek of clubs, beaches, sex and shots. Greece of course is changing but it is the cost of change that matters as it confronts the demands of the EU of globalisation with a nonchalant economic indifference. But in this play of contemporary attitudes of being Greek…

What is of interest is the lopsided re-identification of the second and third generation of Greeks in Australia who adopt their ‘motherland’ through leitmotifs of desire, rather than the actual beingness of being Greek.

A fascinating divide emerges in how we understand the notion of being Greek from the security of being removed and the distance in country like Australia, that still is unable to come to terms with its identity, its diversity and its political responsibilities.

We accompany the Americans in invading Vietnam, Iraq and Afghanistan whist still bowing subserviently to a monarchy which itself understands its irrelevance in the 21st century. Director Tony Nicholakopoulos, has achieved a play with pathos which highlights the importance of doing Greek Australian work.

Extended to 24 October Cyprus Community Club, Stanmore NSW. For more information: (02) 9990 4980 Email: contact@takeawaytheatre.com.au