By Grace Hatchell

I’ve met some folk who don’t take rejection terribly well on my postal round, but Dionysos sounds like he’d make a refused parcel look positively uneventful. The god of theatre, wine and hedonism has been turned away, and apparently a strongly worded letter won’t do. He’s after revenge.

Glasgow’s Company of Wolves is taking its solo retelling of The Bacchae on a UK tour from 2 March to 24 April 2027, following performances at the Edinburgh Festival Fringe in 2025 and a Scottish tour in spring 2026. Euripides’ ancient Greek tragedy gets a fresh outing through storytelling, physical performance and ancient song. Best fasten that satchel properly.

Written and performed by Ewan Downie, this production puts five mythological characters into the hands of one actor. He plays Dionysos, Zeus, Semele, Agave and Pentheus, King of Thebes. Five characters in 55 minutes. I’ve had mornings where answering to “Grace”, “postie” and “you with the parcel” has felt quite enough.

There’s considerably more at stake here than a god having a sulk. The story follows rejection and vengeance towards rebirth, exploring gender, identity and the consequences of pushing others away. Original songs by Downie and Anna Porubcansky are woven into the performance, bringing music into a tale whose teeth have hardly dulled with age.

First performed in Athens in 405BC, The Bacchae has had a fair old journey to reach this tour. Yet its questions about belonging, division and what happens when people refuse to recognise one another remain uncomfortably familiar. Ancient Greece might feel a long way from your local theatre, but human beings have carried some of the same baggage for centuries. And I thought my satchel was getting heavy.

This production also carries a significant creative legacy. The Bacchae was the final work directed by the late Ian Spink, the choreographer and co-founder of Second Stride. Spink was an important influence on both this production and Downie’s earlier solo work, Achilles, and his contribution remains central to the show.

Heather Knudtsen, the associate director and tour director, is directing this touring rendition. The production has also been developed closely with the University of St Andrews’ School of Classics and Ancient Greek specialist Dr Michael Carroll.

Joining them on the creative team are Alisa Kalyanova on set and costume design, Katharine Williams on lighting, and Porubcansky on sound design and composition.

Downie’s connection to the story stretches back 30 years. He describes its central concern as increasingly urgent: the cost of rejecting others, and what it might take to become whole again. That gives this tale of divine vengeance something substantial to chew over once you’re back outside, hunting for the bus stop.

The announced stops are Omnibus Theatre, London, from 2–6 March; Warwick Arts Centre on 9 March; Lichfield Garrick on 11 March; Nottingham Playhouse on 12 March; The Place Theatre, Bedford, on 17 March; The Garage, Norwich, on 18 March; Mercury Theatre, Colchester, on 20 April; Midlands Arts Centre, Birmingham, on 22 April; and Slung Low, Leeds, on 24 April. A further venue is still to be announced.

The running time is 55 minutes, with age guidance of 14+. The production contains flashing lights and scenes of violence. Check your venue’s website for booking information.

One actor, five characters and a god with a score to settle. I’ll say this for Dionysos: he’s certainly giving us something to talk about on the morning round.

Omnibus Theatre, London — 2–6 March 2027.

Warwick Arts Centre, Coventry — 9 March 2027.

Lichfield Garrick — 11 March 2027.

Nottingham Playhouse — 12 March 2027.

The Place Theatre, Bedford — 17 March 2027.

The Garage, Norwich — 18 March 2027.

Mercury Theatre, Colchester — 20 April 2027.

Midlands Arts Centre, Birmingham — 22 April 2027.

Slung Low, Leeds — 24 April 2027.