Uncovering contemporary horror through classical Greek tragedy

The King Pentheus of Thebes and his mother, Agave, fall victim to the deity Dionysus’ ire for spurning his indulgent cult in the ancient Greek play “The Bacchae.”

In “Ecstasy,” Ivy Pochoda’s fresh feminist rendition, Dionysus transforms into a global DJ with a devoted following in the realms of Electronic Dance Music, or EDM, and the rave culture. Pentheus and Agave are reimagined as Drew and his mother, Lena — heir and widow to a late hotel tycoon inaugurating a posh resort on a Greek isle.

This narrative weaves together bloodshed from both antiquity and modernity, abundant with excess and moral degradation — a tale with ageless allure, as evidenced by the numerous productions and adaptations throughout history.

For Pochoda, this latest endeavor signifies a rejuvenation of an old passion — and a return to her earlier self.

“I studied Latin and Greek during middle and high school, and I excelled at it,” said Pochoda, a graduate from 1998 with a degree in classics and literature. “One of the reasons I aimed to attend Harvard was because of its classics program.”

Growing up in Brooklyn, Pochoda completed her high school education at St. Ann’s — a private institution devoid of grading, rigid curricula, and founded on a philosophy of being “systematically asystematic.” One year, her educators guided the class through translating Ovid’s “Metamorphosis.” During another year, an entire course was devoted to translating Euripides.

“I dedicated my final year of high school to translating ‘The Bacchae,’” Pochoda reflected. “We tackled it from start to finish, and it was truly an incredible experience for a 17-year-old to become so deeply involved in a text. It was always present in my mind.”

However, in college, Pochoda mentioned, immersing herself in ancient narratives was more challenging.

“I realized in college that an interest in classics does not equate to a fascination with mythology,” she mentioned. “In high school, they seemed intertwined for us.”

Pochoda felt that concentrating exclusively on classics primarily revolved around constant translation.

She yearned for deeper discussions about meanings and themes, the elements of ancient storytelling that delighted her. That’s why, partway through her undergraduate journey, Pochoda resolved to switch her focus.

“There was this concentration known as classics and secondary fields, which traditionally wasn’t meant to overlap with English. But I forged that link through studying dramatic literature, leading me back to ‘The Bacchae’ and works that I cherish.”

To meet the requirements for her novel amalgamation of literature and classics, Pochoda engaged in classes at American Reparatory Theater, alongside her creative writing studies. She fondly remembers her time learning with Professor Emeritus Robert Brustein and associate Robert Scanlan.

“It took me back to where I started from, which is being academic, but also creative, applying that academia to performance and exploring areas that diverge from the norm,” she expressed. “As an undergraduate, taking courses alongside art students and collaborating with art faculty, while genuinely reflecting on my studies in Greek and English literature through a dramatic lens, was a fascinating journey.”

The backdrop of “Ecstasy” is distant from the ivy-clad structures of Cambridge, or even the sprawling city of Los Angeles, where she currently resides with her 10-year-old daughter, yet Pochoda affirms there is genuine life influence at work.

“Ecstasy” primarily unfolds on the island of Naxos — a locale she visited in 2018 while contributing to the “Epoca” series with Kobe Bryant.

In addition to her real-life island sojourn, Pochoda has also dipped her toes into the EDM realm. During her prior role as captain of the women’s squash team at Harvard, followed by nine years competing professionally in Europe, Pochoda indulged herself in the scene.

“I’m not some super hardcore EDM enthusiast, but I’m familiar with it. I mean, I’ve attended some raves and events, which posed challenges for me academically,” she chuckled. “I will discuss it candidly,” she added.

Regarding her choice to align this culture with that of the ancient Greek deity known for indulgence in wine, pleasure, and festivity, Pochoda mentioned that was a straightforward decision.

“When I reflected on what transpires in that play, those women are essentially raving,” she remarked. “During the early days of EDM, early trance gatherings, and underground music, there was substantial skepticism surrounding the scene and concerns that the music was driving people mad and substances were exacerbating that. Therefore, in the book, I attempt to explore the concept of rhythm, or rhythms, alongside the crescendos of EDM.”

However, to clarify, Pochoda stated, this isn’t strictly a cautionary narrative.

“The central characters aspire to hit the beach and celebrate freely, rejuvenating their youthful spirit and the liberality of youth — the freedom for women to act according to their desires without male interference,” she explained. “Yet, there exists a darker aspect to that.”