Oresteia

 Oresteia
Park Avenue Armory
Almeida Theatre Production
July 16, 2022 

Photo courtesy of Park Avenue Armory

Robert Icke’s adaptation of  Oresteia is a brilliant retelling of the Aeschylus trilogy.  The production is four hours of riveting action.  The audience is part of the story.  We are drawn into the human emotions of this family, who sacrifices for the greater good, then gets trapped in a vicious cycle of murder.  Once this brilliant cast presents the full story, Mr. Icke includes the audience in the final conclusion.  How can this family break free from the endless cycle of bloody retribution?  How does our final thought reflect on our own sense of justice?

Mr. Icke brings the action into present day, and tells the tale in four Acts.

·       Act I:  The sacrifice of Iphigenia (played by Elyana Faith Randolph & Alexis Rae Forlenza) by Agamemnon (played by Angus Wright) to save his country from the destruction of war.

·       Act II:  The murder of Agamemnon by Klytemnestra (played by Anastasia Hille) for taking the life of their daughter.

·       Act II:  The murder of Klytemnestra by Orestes (played by Luke Treadaway) in retribution for the murder of his father.

·       Act IV:  The final judgment of Orestes.

Angus Wright as Agamemnon
Photo courtesy of Park Avenue Armory

 Act IV is a unique ending to this classic tale.  After three gripping acts of suspenseful and emotional
immersion, the final moments of the play engage you intellectually. The audience is asked to judge Orestes in the act of killing his mother for the murder of his father.  The cycle of vengeful murder needs to end with Orestes.  We witnessed the story and have the power to release him of the consequences of his fate, the expectation of his heritage, the burden of his lineage.  Mr. Icke takes us to a stunning conclusion as we face the truth of our own conviction.  How is justice served?  Is it through Oreste’s murder for his crime or through his absolution, which will overwhelm him with the guilt of his actions for the rest of his life.  A life that looks nothing like the privilege he was born into.  This is the question asked of Agamemnon in Act I when he is faced with the need to sacrifice Iphigenia.  What will her life be like if she is saved and they lose the war?  Their present life will no longer exist.  The tale goes full circle.  Justice is served.  The cycle might be ended, but what kind of life is ahead? 

The original cast of Oresteia
Photo courtesy of Park Avenue Armory

Aeschylus wrote Oresteia centuries before the practice of psychology was developed.  As in his production of Hamlet (running in rep with this production – see the post on this blog dated July 3), Mr. Icke analyzes these classic characters so we see our behavior in them.  As we face present day crises, both personal and on a world wide level, we need to see that our actions reflect who we are.  They have repercussions on our immediate circles.  As the crises of the world invade our homes, we have choice.  Our choices create a cycle in our behavior that can become inescapable.  Mr. Icke’s adaptation and direction of this centuries old story give us pause to realize that history never stops repeating.  We are not alone in the consequences of our decisions, but we do have the power to prevent the start of a cycle in our behavior, or break it before it is too late.

Oresteia is playing at the Park Avenue Armory in rep with Hamlet through August 13.  Both productions are in association with the Almeida Theatre in London.  They are both brilliantly conceived and masterfully directed by Robert Icke, with an exceptionally skilled cast and ensemble.  Don’t miss them! 

Domenick Danza

Hamlet

 Hamlet
Park Avenue Armory
Almeida Theatre Production
July 2, 2022 

Photo courtesy of Park Avenue Armory

The North American premier of Director Robert Icke’s Hamlet is now playing at the Park Avenue Armory.  It has a running time of three hours and forty minutes, with two intermissions.  The actors take their time with Shakespeare’s rich text and gently rhythms, uncovering lavish subtext.  Mr. Icke places the story in present day Denmark, using modern technology to progress the action, allowing the characters to be relevant and identifiable.  

Prince Hamlet of Denmark (played by Alex Lawther) is in grief over the death of his father, King Hamlet, and the quick and untimely marriage of his mother, Queen Gertrude (played by Jennifer Ehle), to his uncle, Claudius (played by Angus Wright).  Hamlet’s friend, Horatio (played by Joshua Higgott), tells him that the ghost of King Hamlet (played by David Rintoul) appeared during the night watch.  Hamlet joins Horatio, Marcellus (played by Michael Abubakar), and Bernardo (played by Hara Yannas) to watch for the ghost’s return.  When it appears, the ghost tells Hamlet that he was murdered by Claudius, and Hamlet must take revenge.  Hamlet does not reveal this information to anyone, so these thoughts consume him.  His behavior becomes erratic and unpredictable.  He lashes out at his beloved Ophelia (played by Kristy Rider).  When Claudius suspects that Hamlet knows the truth, he commands Hamlet’s old school friends, Rosencrantz (played by Calum Finlay) and Guildenstern (played by understudy Lise Bruneau) to accompany Hamlet to England.  They unknowingly carry a letter from Claudius to the King of England to have Hamlet killed.  Hamlet escapes, only to return to Denmark on the day of Ophelia’s burial.  Her brother, Laertes (played by Luke Treadaway) wants revenge on Hamlet for the death of Ophelia and his father, Polonius (played by Peter Wight).  The plan Claudius makes with Laertes to cause the death of Hamlet goes awry, causing the death of Gertrude.  Hamlet finally achieves vengeance for his father’s murder, but does not live to tell the tale. 

Jennifer Ehle & Alex Lawler
Photo courtesy of Park Avenue Armory

This cast is brilliant.  Every performance is precise and clear, projecting throughout the expansive Park Avenue Armory space.  Alex Lawther portrays Hamlet as a meek and gentle man who is apprehensive about his power, his grief, and his rage.  There are explosive moments, followed by emotional retreats and deep uncertainty.  This dichotomy is potent, and clearly illustrates Shakespeare’s intent, which was way before Freud and any understanding of this kind of psychological characterization. 

Angus Wright has a strong and domineering presence as Claudius, fully taking charge of every element of his rule, including Hamlet’s fate.  Jennifer Ehle’s Gertrude is joyous in her new marriage, truly unaware of Claudius’ tyrannical betrayal.  Prominently depicted in this production is a territory conflict between Norway and Denmark, started by King Hamlet.  This frames the level of power that Claudius is hungry to achieve.  Hamlet’s death brings peace and resolution to Denmark’s on-going conflict with Norway, making him a honored and remembered international figure.    

Calum Finlay, Alex Lawther, & Tia Bannon
Photo courtesy of Park Avenue Armory

The interpretation of Rosencrantz and Guildenstern is refreshing.  There is conflict between the two characters as Guildenstern is loyal to Hamlet and genuinely concerned about his well-being.  Rosencrantz’s loyalties lie more on achieving Claudius’ directives.  Calum Finlay and Lise Bruneau beautifully play these characters, enacting these distinct objectives and earnest concerns.  It drive their scenes and creates an unsettling effect when we hear about their outcome.

The final scene is magnificently directed.  Most of the dialogue is cut, and the duel is staged as a fencing tournament.  One by one the characters are poisoned, with close-ups provided by video projections.  They exit to heaven and are met by King Hamlet and the other deceased characters.  There is a visceral sense of forgiveness and mercy, creating compassion and forward movement.  This illuminates Shakespeare’s well-known final line of this play. 

Photo courtesy of Park Avenue Armory

If you are a Shakespeare or Hamlet enthusiast you must see this production.  The interpretation is enthralling.  The performances are superb.  Hamlet is playing at the Park Avenue Armory in rep with Aeschylus’ Oresteia through August 13.  Both productions are in association with the Almeida Theatre in London.  The production of Oresteia is sure to be equally engaging. 

Domenick Danza

Oresteia

Oresteia

Classic Stage Company

Greek Festival

August 23, 2015

Photo courtesy of Classic Stage Company

ClassicStage Company is presenting their Greek Festival from August 10 through September 27.  The advertisement for Oresteia caught my attention, so I grabbed a ticket on TDF.  It is produced in association with Ashes Company, and conceived and directed by Jonathan Vandenberg.  This powerful and mesmerizing piece is presented with very little dialogue.  Mr. Vandenberg relies on impressive visual images, authentic sound, and concise movement to take his audience on a journey through the cycle of vengeance, greed, and passion all the way to healing. 

Photo courtesy of Ashes Company

Oresteia is Aeschylus’ tragic Greek trilogy that tells the story of the end of the curse on the House of Atreus.  The ensemble is amazingly gifted and intensely focused for this ninety minute interpretation.  Every gesture expresses intent and is delivered with clarity and significance.  The longing for retribution is passed from one character to the next through the passing of the knife and the spilling of blood.  The sound design, by Alexandria Bottiglieri, draws you into the intensity of each event, but it is the sound of each moment that rivets you to the action – the character’s breath, the dragging of costumes across the floor, the rustling of chains, the pouring of water.  This is what captivates your senses and draws you into the importance of each moment.  When Orestes cannot return the knife to the circle from whence it was first retrieved by Agamemnon, it is clear that the cycle of pain and suffering has ended.

Photo courtesy of Ashes Company

In the Classic Stage Company newsletter, director Jonathan Vandenberg addresses the question of catharsis.  What did it mean for an Ancient Greek audience?  Is it possible today?  By leading the audience through this stark and gritty retelling, he brings us to a visceral understanding of the pain of yearning for vengeance and forgiveness.  It is a phenomenal, and yes, cathartic encounter.

The consistency of quality in the work of Classic Stage Company is relevant in this original interpretation of Oresteia.  Be sure to take in a performance of the Greek Festival at Classic Stage Company, as well as look for upcoming work by Ashes Company.

Domenick Danza