In Zinnie Harris's Supposing:, a modern, secular woman finds herself transformed into a Hellenic heroine, plagued by visions of the future. The play, written and directed by Harris, is staged with remarkable minimalism at the Traverse theatre, Edinburgh, where a white-edged circle on the floor of an otherwise empty space defines the entire set. This circle could be the hole on the high street that Sally trips into for want of a protective bollard, or it could be the kitchen where she tells her husband, Richard, about her strange concern: “I think I’ve been cursed.” She imagines his reactions in a hundred different ways – incredulous, mocking, shocked – none of them good.
Minimalist staging, maximal emotional intensity
Designer Alisa Kalyanova’s simple set allows the focus to remain squarely on the relationship between actors Nicole Cooper and Richard Conlon, both excellent as they revolve around each other, desiring to get close but so often repelled, twisting apart because of the import of Sally’s revelation. Is this modern-day secular woman, who does not believe in gods but in concrete facts, suffering some kind of mental collapse, or does her curse mean she can really see the future? And if she can, what is she to do with the prophecies?
With a 17-strong Greek chorus in her head, nagging her like a guilty conscience, Sally reads up about satyrs and tragedies, portents and sacrifices, in case they have something to do with her. She even tries a bit of libation, with water, salt and wine, to make it all stop. Like Greek antecedents such as Medea, Clytemnestra and Penelope, she is getting intense.
Comic irony and troubled times
Cooper delivers Sally’s admission of intensity in a tone of helpless irony, making it one of this elliptical play’s funnier observations. The ancient heroines are a comically imperfect fit for Sally, an ordinary wife and mother, yet something in our own troubled times calls for the kind of full-blooded response that only the Greeks can provide. Sally’s frequent references to pregnancies and miscarriages suggest there is a future, but an uncertain one. In a society beset by political extremism, she sees visions of a racist neighbour and an unknown refugee housed in accommodation targeted by rightwing protesters. In such exasperating times, perhaps only ancient rage will suffice.
Hope amid the fractures
Yet, as the play’s closing moments hint, there is still a possibility of healing the fractures. Supposing: runs at the Traverse theatre, Edinburgh, until 30 August. This production is part of the Edinburgh festival 2026, offering a thought-provoking alternative to bombastic Greek adaptations like Christopher Nolan’s The Odyssey.
