“Scenes from an Execution” at The Wharf Theatre, Devizes, September 21st – 26th 2026

by Ian Diddams

images by Wharf Theatre

An artist expresses their personal thoughts. The rich and powerful use their positions to shut that expression down and remove the artist. Yet the act of suppression feeds a wider interest in the subject being suppressed. Macklemore, Ed Sheeran and venue owners? Or a 1980s play about a fictional Viennese artist and her painting depicting the battle of Lepanto in 1571?

The answer in the case of “Scenes from an Execution”, by Howard Barker, showing at the Wharf Theatre, Devizes is the latter. But it is a classic case of a forty-two-year-old play imitating life where the same scenario in effect was played out last weekend with Macklemore, his support for Palestine, and the repercussions on what is now becoming known as the “Fled Sheeran” tour.

Controversial artist Galactia is commissioned by the Republic of Venice, to paint a glorious triumph by Christians over Muslims at the Battle of Lepanto. Instead, however, she portrays the genuine horrors of war : of bloodied and mutilated cadavers, suffering, and sheer unadulterated cruelty. The Republic’s leadership balks at this representation and attempts to hide the painting, as well as imprison Galactia whilst commissioning another painting in more celebratory style. But the truth finally outs and the painting becomes a public triumph much to the authourity’s despair… but is the interest because of the stark realities portrayed or is it merely voyeurism and a box ticking social activity?

We are led through what is a hundred-foot-long painting (CF Bayeux Tapestry), scene by scene, by a museum curator, cleverly played by Georgia Watson as we segue each time into the scene’s background by fictional characters’ interaction with Galactia, and the “real-life” storyline of Galactia’s interactions with her lover Carpeta, himself an artist obsessed by paintings of “Christ amongst the flocks”. Chris Smith captures his dichotomy of a husband’s guilt about his affair with her, and his servility to the law represented by Oli Beech’s sublime delivery of an initially effervescent then creepily oppressive Doge.

Adam Sturges multi roles superbly as Cardinal Ostensible of the catholic church, Admiral Suffici from the battle itself, and Prodo, a loyal veteran despite his own personal tragedies brought by battle. Laura Bartle as Supporta acts as one of Galactia’s daughters alongside Georgia as the other, whilst magnificently also portraying the haughty Rivera, an art critic moving in the higher social circles. The entire cast at times play sundry minor characters to aid the story along but the entire production is a thorough triumph, led by the quite excellent Julie Baker as Galactia who is on stage for almost all of the entire two-hour play and whose intensity and focus never wavers. She IS Galactia.

Director Jacs Brady has created a glorious show – her use of colour throughout with drab colours and lighting for the artists and pauper’s environments, and brilliant, stunning colours for the rich and powerful shines through (pun unintended!).

The set is a simple, stark artist’s studio, with lighting changes to represent also a prison, and a balcony for external scenes. It represents pretty much a kitchen sink drama – almost all the action happens in just one room aside from the above minimal exceptions.

The overall effect is not just engaging – it draws the watcher into that world. And the quality of the performance with the intimacy of the Wharf Theatre is breathtaking, and where the line between community and professional theatre is not at all apparent.

Barker’s play deals with themes of absolute power versus artistic freedoms, reality versus propaganda, censorship of free expression and visions of war as glorious versus horrific. The parallels with last weekend, Macklemore and tour management are plain to see.

This is not a “light” play – its intention is clearly to make one think about our media and information delivery. Though those that seek the occasional smile and smirk will enjoy the passive-aggressive interactions between artistic lovers and the Doge’s dry humour to the peasant classes. As well as the fixation on the word “buttocks”. Buttocks – though not seen ! – feature prominently in a text that is only two hours long 🙂