Delos: the birthplace of a Greek god

by Sean McLachlan on


An ancient theater on the Greek island of Delos has received funding for a major renovation. The Greek government has earmarked 1.5 million euros ($2 million) to make the site more attractive for the thousands of tourists who visit it every year.

Delos was an important religious site in ancient Greece, being the purported birthplace of Apollo. Delos is one of the smallest of the Cyclades Islands, which are a favorite destination for many travelers for their historical importance and natural beauty.

The theater was finished in 250 B.C., and constructed entirely of marble. It could seat up to 6,500 people and it may be used as a theater again once the restoration is completed. Restoration work will include putting together the jigsaw puzzle of many broken pieces of marble, clearing away the plants that have grown on the site and providing drainage to minimize water damage.

The entire island of Delos is one of Greece’s seventeen UNESCO World Heritage Sites and is rich with archaeological remains. Archaeologists from the French School at Athens have been excavating at Delos since 1872 and are still making major finds. One of the most attractive is the Sacred Way leading to the sanctuary of Apollo. The road is flanked with carved lions, much the way sacred paths in Egypt were flanked with sphinxes. Besides Apollo’s sanctuary, there were also spaces set aside as sacred to Dionysus. Several giant phallic symbols sacred to the god of wine and partying have been found. You can see a couple in the photo gallery below.

Sumptuous mosaics have been discovered in many of the buildings as well as statues and richly painted pottery. Many of these finds are displayed in the local museum, one of the best in Greece.

Photo courtesy Wikimedia Commons.

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Exploring ancient Rome in Mérida, Spain

by Sean McLachlan on


It’s Christmas. What do you get an avid traveler who used to be an archaeologist?
For my wife the answer is obvious–a trip to a Roman city!

So here we are in Mérida, capital of the province of Extremadura in Spain, not far from the Portuguese border. In Roman times it was called Emerita Augusta and was capital of the province of Lusitania. This province took up most of the western Iberian peninsula, including most of what is now Portugal. The city was founded in 25 BC as a home for retired legionnaires on an important bridge linking the western part of the Iberian peninsula with the rest of the Empire. Putting a bunch of tough old veterans in such an important spot was no accident. The city boasts numerous well-preserved buildings and together they’re now a UNESCO World Heritage Site.

It’s a five-hour ride from Madrid on a comfortable train. Almudena and I brought along my five-year-old son Julián to give him a bit of classical education. (No cute kid photos, sorry. Too many freaks on the Internet)

Our first stop was Mérida’s greatest hits–an amphitheater for gladiator fights and one of the best preserved Roman theaters in the Roman world.

Both of these buildings were among the first to go up in the new city. Since the Romans were building a provincial capital from scratch, they wanted it to have all the amenities. The theater was a center for Roman social and cultural life and this one, when it was finished in 15 BC, was built on a grand scale with seats for 6,000 people. One interesting aspect of this theater is that it underwent a major improvement between the years 333 and 335 AD. This was after the Empire had converted to Christianity, and the early Christians denounced the theaters as immoral. The popular plays making fun of the church probably didn’t help their attitude. As I discussed in my post on the death of paganism, the conversion from paganism to Christianity was neither rapid nor straightforward. At this early stage it was still unthinkable to found a new city without a theater. The backdrop even has statues of pagan deities such as Serapis and Ceres. Although they’re from an earlier building stage than the Christian-era improvements, the fact that they weren’t removed is significant.

%Gallery-112089%Julián didn’t care about that, though. He was far more interested in the dark tunnels leading under the seats in a long, spooky semicircle around the theater. At first his fear of dark, unfamiliar places fought with his natural curiosity, but with Dad accompanying him he decided to chance it. It turned out there was no danger other than a rather large puddle we both stumbled into.

On stage he got a lesson in acoustics. The shape of the seats magnifies sounds. Voices carry further, and a snap of the fingers sounds like a pistol shot.

Next door was the amphitheater, where gladiators fought it out for the entertainment of the masses. Built in 8 BC, it seated 15,000, more than twice the amount as the theater. This was a city for veteran legionnaires, after all! Julián didn’t know what gladiators were so I explained it to him and soon throngs of ghostly Romans were cheering as Sean the Barbarian fought the Emperor Julián. He wanted to be a ninja and was disappointed to learn that there weren’t any in ancient Rome.

These two places are enough to make the trip worthwhile, but there are more than a dozen other ancient Roman buildings in Mérida as well. The best way to sum up the experience of walking through these remains was what I overheard some Italian tourists: “Bellissimo!“
If the Italians are impressed, you know it’s good.

This is the first in a new series: Exploring Extremadura, Spain’s historic southwest

Coming up next: More Roman heritage from Mérida!

Shakespeare’s first theatre discovered

by Sean McLachlan on

Archaeologists in the London borough of Shoreditch have uncovered the city’s first theatre, and the first that staged Shakespeare’s plays.

Named simply “The Theatre”, it opened in 1576 and the game is afoot to build a new theatre on the site. The Theatre Appeal is raising money for the project and plans to install glass floors so visitors can admire the original Elizabethan floor and foundations.

The Theatre was disassembled in 1598 and the beams used to build Shakespeare’s more famous venue, the Globe. The reason for this move was that the landowner had a dispute with Shakespeare’s troupe and threatened to kick them out. So the Bard and friends waited until the landowner was away for Christmas, took the building apart, and spirited it to a new location.

A reconstructed Globe offers daily performances on the south bank of the Thames. The faithful reproduction gives you the feel for the original without the toothless peasants, dead cats, and outbreaks of the plague. You can even buy cut-rate tickets for the “groundling” section, a standing-room-only area in front of the stage. The performances are of uniformly high quality. Having lived in London for a year, I put it on my top ten list of things for visitors to do. A reconstruction of The Theatre would give Shakespeare lovers a double-dose of the The Bard.


Public domain image courtesy Wikimedia Commons.

Six steps to a Broadway night you’ll always remember

by Tom Johansmeyer on

There are so many choices available, it can be almost impossible to construct a perfect dinner-and-a-show night. Whether you live in Manhattan or are in town for the first time, it’s too easy to make a wrong turn, pick an unsatisfying restaurant or wind up chasing from one venue to the next. A single wrong turn can send you into a scramble, putting what should be the evening of your life at risk.

Plan ahead, even a little, and your theater getaway can be nothing short of amazing. There’s no reason it should go wrong, especially when you can think through the perfect night and put a few pieces in place before you step out the door. Keep in mind, a great evening, with no worries, may cost you a little more money, but predictability has value, so you shouldn’t expect it to be free.

1. Buy your tickets in advance
This seems obvious, but it’s not unusual to see a long line at the TKTS kiosk in Times Square or people shoving into the theater looking for discounted standing room only tickets. I did SRO once; my wife almost killed me. I didn’t want to admit it at the time, since I made the decision, but I wasn’t too happy either. If you order in advance, you’ll probably score better seats, and you won’t have any headache. In addition to convenience, you’re also buying some of your time back (no need to wait in line).

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2. Consider something other than “Big Broadway”
New World Stages on W. 50th St. and Eight Ave. is like the theater equivalent of a major cinema. There are several stages, each of which home to a different production. The ticket prices are absolutely reasonable, and the productions are fantastic. I’ve seen several plays there and have never had anything other than a great experience. Unlike some of the really small stuff, you’ll still be in the Times Square area, so you’ll be near where you expected.

3. Start with a snack
Instead of showing up absurdly early for dinner or rushing through a meal to get to the theater in time, grab a drink and some appetizers before the show. The ideal spot varies with the show you’re planning to see and how much walking you don’t mind doing. I’ve always enjoyed raw bar offering at Thalia. It’s a great spot and understands the quirks of serving theater-goers.

4. Show up early
Don’t be so early that you’re standing on an empty sidewalk, but do give yourself 30 minutes or so before the show starts. If the extra time you’ll be in your seat will bore you to tears, bring a book. This is much better than having to shove your way through the crowd and risk not being able to hit the bathroom before the curtain goes up.

5. Nearby dinner afterward
Getting a taxi when a show lets out is like trying to get a stripper to buy you a drink. Don’t bother. Instead, have a later dinner (reservations should be easy). If you’re having trouble choosing a place, forget the coupons in the playbill. Before you go out, hit OpenTable and make reservations. You’ll probably find a kickass restaurant that wouldn’t have occurred to you otherwise. When in doubt, hit The Palm (W. 50th St. and Eighth Ave.); it’s convenient and the menu is fantastic.

6. Enjoy a last drink
Don’t finish the evening from your table at the restaurant. Rather, find a relaxing bar with comfortable chairs. If you’re a cigar smoker, you might want to try the Carnegie Club (on W. 56th St. between Sixth Ave. and Seventh Ave.). If you like your bars smoke-free, head up to the bar at the Hudson Hotel (W. 58th St. and Ninth Ave.).

Mezz vs. orchestra: It’s the people around you

by Tom Johansmeyer on

I settled into my seat at the Bernard B. Jacobs Theatre in Manhattan on Saturday well in advance of the curtain’s rise. My wife and I were eager to see “God of Carnage,” which had received great reviews and featured a high-profile cast. For a change, we had seats in the mezzanine section – rather than our usual preference for orchestra. It wasn’t a big deal, and we were prepared to accept the greater distance from the stage. By the end of the show, however, we vowed never to sit in the mezzanine section again. The people around us made the difference.

I see it all the time, and I know I’m not alone. A busload of tourists stumbles onto the sidewalk and crowds around the theater‘s doors. Some push; others linger. Both fail to understand the concept of forming a line … or joining one that already exists. Or, a group of people who live a mere hour from the city spend six months planning their annual trip into the thrilling metropolis and can’t contain their excitement at being able to see an actual celebrity working. You are noticeable a mile away, and yes, you’re being judged.

So, if you are headed into Manhattan to enjoy a Broadway production, please heed the following advice. You’ll make the experience better for everyone. Most of it is common sense, but unfortunately, there are people out there who need a detailed list.

Don’t be loud; don’t linger
As I climbed the stairs, I was stuck in the middle of a crowd of nine people who made their annual trek from New Jersey into Manhattan to get a bit of “culcha [culture].” They screeched as they plodded about how they should be featured as the Real Housewives of New Jersey, poking each other about their respective shitty marriages. The conversation kept them from taking their seats efficiency, causing a logjam that stretched all the way back to the entrance. So, while we were treated to diatribes about their husbands, guests out of earshot were stuck in place without even knowing why.

Advice: Shut up, and get to your seat quickly. Talk when you’re settled in … and do so quietly.

Arrive on time
This seems as though it shouldn’t need to be said, and I’ve only rarely encountered it when sitting in the orchestra section. Yet, in mezzanine, it’s more common. A man arrived around five minutes after the production started, had trouble getting to his seat in the dark and tripped over my foot (okay, I’m not entirely innocent here). He was the punctual half, though. His companion arrived 15 minutes later and made an even bigger scene.

Advice: Do I have to spell it out? You know when the show starts: plan accordingly.

Don’t clap when the curtain comes up
Yes, when you see the likes of James Gandolfini and Marcia Gay Harden on stage, it’s exciting. Your urge is to applaud, to slap your hands together as violently as possible. Meanwhile, what are James Gandolfini and Marcia Gay Harden doing? They’re talking! And, we can’t hear them! Let the actors perform. That’s why they are on the damned stage.

Advice: If you just want to see celebrities, hang around outside the theater and wait for them to arrive or depart. Otherwise, watch and listen. That’s the whole reason you spent $70 a ticket.

Don’t talk during the show … duh
Again, does this really need to be explained? For some reason, the people down in the orchestra section have figured out that the actors do the talking; the audience does the listening. In the mezzanine section, however, the actors do the primary talking, and the spectators provide a running commentary. Guess what? Everyone knows that James Gandolfini played Tony Soprano. They don’t need to be reminded. And, it’s no better when you complain about the nine New Jersey housewives in front of you who have been talking through the entire play. Are you really any better?

Advice: Shut your mouth, and remember that the only people who should be talking are (a) paid to do so and (b) told what to say.

That’s all it takes – four simple rules. I know it seems unwelcoming of me to dump all this on you, but if you exercised even a shred of common sense this article would be unnecessary.

Now, if you live in New York – or did at one time – here’s the best advice of all: sit in the orchestra section. At the risk of being called a New York snob (as my wife and New York snob friends have done already), you’ll have a better time if you join the other New York snobs who … guess what? … are there to enjoy the production.