| re: ORESTEIA Sat Mat | |
| Posted by: stan 08:07 pm EDT 07/30/22 | |
| In reply to: re: ORESTEIA Last Night - Singapore/Fling 05:28 pm EDT 07/30/22 | |
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| It should have been wrenching, but it was mainly interesting. Whereas some directors, like Sam Gold, reimagine the ancient classics, like Hamlet, without major changes in the texts but often come up with terrible productions. Many plays, especially Hamlet, get totally new works using the plot outlines with the knowledge that the familiarity of these masterworks can allow their imaginations to sometimes produce a Pulitzer without too much original thinking. This Oresteia was virtually a new work, under the shroud of a truly great play. I didn't mind. I took it as an original show (G-d how I, too, love Mourning Becomes Electra). I was not emotionally engaged, which seems impossible with this tragedy. I saw Iphigenia in Aulis (by Euripides) with Irene Papas and Mitchell Ryan (this is the version I've reported on previously where Ryan was so drunk he left the stage, vomited, returned, apologized, and went on with the play while the embraces with his doomed daughter and the mighty Clytemnestra were strained). It was directed by Michael Cacoyanis and was superb. It was also enough. Your heart was broken and you left the theater. Then I could see Electra (Euripides or Sophocles) and forget about The Eumenides -- in which the justification of saving Orestes was that belief that semen is like a seed with an already formed homunculus and the woman's womb is its fertile garden (or so I was told?). Also, I was annoyed that Aegesis was played by the same actor who was Agamemnon. As well as explaining his relationship to the Queen (who really didn't see all that Queenly) And I wanted to see more of Cassandra (as long as you're rewriting what we're seeing) -- who doesn't love a character who gets no respect even though she knows EXACTLY what's happening next. | |
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