{"id":350708,"date":"2024-02-25T09:18:39","date_gmt":"2024-02-25T14:18:39","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=350708"},"modified":"2024-02-25T09:18:39","modified_gmt":"2024-02-25T14:18:39","slug":"the-oresteia-is-a-family-drama-writ-large-at-chesapeake-shakespeare-company","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2024\/02\/25\/the-oresteia-is-a-family-drama-writ-large-at-chesapeake-shakespeare-company\/","title":{"rendered":"‘The Oresteia’ is a family drama writ large at Chesapeake Shakespeare Company"},"content":{"rendered":"

The age-old dramaturgical question is always: \u201cWhy do this play now?\u201d In the case of The Oresteia \u2014 <\/em>currently onstage at Chesapeake Shakespeare Company and the company\u2019s first foray into Greek tragedy \u2014 the answer is fraught if we are looking into an ancient play for contemporary parallels to our own times, our current wars, or our own modern understanding of abstract ideas like justice, vengeance, duty, family, or divinity. The reflection may (or may not) be there but in a highly distorted, fractured mirroring.<\/p>\n

Rather we should admire The Oresteia<\/em> as a window into an ancient, uncanny world of violence, cruelty, and slavery, but also the place where lofty concepts of Western philosophy, drama, and democracy emerged \u2014 those that shape our society to this day. There are many truths, as the play concludes in its final lines, and these truths can be contradictory, but that does not make them any less true in this vividly staged and captivating production directed by Lise Bruneau.<\/p>\n

\"\"
The cast of Chesapeake Shakespeare Company\u2019s \u2018The Oresteia.\u2019 Photo by Kiirstn Pagan Photography.<\/figcaption><\/figure>\n

Ellen McLaughlin\u2019s beautiful and cathartic adaptation of Aeschylus\u2019 tragic trilogy \u2014 Agamemnon<\/em>, The Libation Bearers<\/em>, and The Eumenides <\/em>(458 BCE) \u2014 concerns one of the most cursed families in Greek mythology, a family that has flouted all decency and committed acts of familial murder, cannibalism, incest, hubris, and impiety over succeeding generations. In this tragedy, the great commander of the Greek fleet, Agamemnon, King of Mycenae, sacrifices his daughter, Iphigenia, to commence the Trojan War; his queen, Clytemnestra, waits for ten years for her husband\u2019s triumphant return for her revenge. After another decade, their adult son, Orestes, returns to Mycenae and, encouraged by his sister, Electra, seeks to avenge his father\u2019s murder.<\/p>\n

It\u2019s a play that works because its horrors are not our own: the gendered vices and virtues are wholly alien; dreams are always prophetic, if the dreamers can decipher the meaning; and the gods are threatening, callous, and petty, making their presence known through their cruel demands and inhumane gifts. That is, it\u2019s all (ancient) Greek to us, and that \u2014 along with the rich, lyrical verse and the vulnerable, humanness of the characters \u2014 is the beauty of this work.<\/p>\n

As Clytemenstra, Isabelle Anderson is marvelous, regal, and nuanced. She can love and hate, and she can burn with a decade-long fire yet act cool and calm upon Agamemnon\u2019s (Stephen Patrick Martin) return. She is a viper who dreams of nursing snakes, a vixen in her series of diaphanous dressing gowns (all designed by Kristina Lambdin), a victim of her husband\u2019s love of honor, and she is vengeance personified. Anderson beautifully embraces all of this, as complex and rich in her choices and delivery onstage as the wine-dark Aegean sea.<\/p>\n

There are strong performances by the actors playing the rest of the cursed family, too. Stephen Patrick Martin offers a stoic Agamemnon, who chooses masculine pride over protecting his own family. Young actress Charlotte Molitoris creates a haunting apparition of lost innocence throughout as Iphigenia. Lizzi Albert \u2014 always a pleasure in Shakespearean comedic parts \u2014 adds almost<\/em> a bit of levity as the rebellious Electra, flipping the bird at her mother\u2019s back. She is Cinderella with a vendetta, festering with ten years of revenge in her heart. And Isaiah Mason Harvey shines as Orestes, the conflicted heir who returns to claim the legacy left to him, one of unspeakable horrors and impossible choices. Whether acting as the vessel for Apollo, confronting his mother for her crimes, or pleading his case to the household servants-turned-jury, Harvey\u2019s Orestes is deeply human and moving.<\/p>\n

\"\"
TOP: Isabelle Anderson as Clytemnestra; ABOVE LEFT: Isaiah Mason Harvey as Orestes; ABOVE RIGHT: Isaiah Mason Harvey as Orestes and Lizzi Albert as Electra, in \u2018The Oresteia.\u2019 Photos by Kiirstn Pagan Photography.<\/figcaption><\/figure>\n

Overseeing all of this is the Greek Chorus \u2014 Gabriel Alejandro, Hana Clarice, Surasree Das, Lloyd Ekpe, Alie Karambash, Lesley Malin, Dawn Thomas Reidy, and David Yezzi \u2014 composed of household servants who quite literally clean up after the royal family, washing away the blood spilled in the house. They also become the frightful Furies chasing Orestes (with the help of strobe lights and dramatic poses) and finally, the jury who must hear Orestes\u2019 case. Comprising all local actors and many of CSC\u2019s most familiar faces including CSC\u2019s producing executive director Malin, the Chorus often moves and then poses in tableaux vivant<\/em>, asking rhetorical questions about the thornier issues of justice and revenge with overlapping lines and echoing words. Brought back as Agamememnon\u2019s enslaved bride, the captive Cassandra (played by Emily Erickson as a wild-eyed prophetess) does not suffer a collective amnesia about the family\u2019s sordid past: she sees all their generations of evil crimes and foresees her own pathetic ending.<\/p>\n

The haunted House of Atreus \u2014 the facade of a gray stone palace with red poppies bursting forth \u2014 is effectively designed by Kathryn Kawecki. Under lighting designer Katie McCreary\u2019s vision, the palace\u2019s colors shift slightly whether in flashback scenes, turning green with decay, red with anger, or cold blue; when Orestes and Clytemnestra meet \u2014 the lights throb subtly with pink hues like a heartbeat or a womb. When Apollo speaks through Orestes or Cassandra, the stunning lighting by McCreary and sound design by Sarah O\u2019Halloran create those moments of divine intervention. Less successful are the polychronic costumes by Kristina Lambdin: Clytemnestra says that walking through the halls one moves in and out of centuries but here it is too literal. Servant costumes range from medieval peasant tunics to Victorian butler and maid livery, and it is jarring when one servant sets down a laptop and Orestes takes off his traveler\u2019s cloak to reveal a gray hoodie, as nothing else indicates a contemporary setting.<\/p>\n

The Oresteia<\/em> was commissioned by Shakespeare Theatre Company as the very last play directed by Michael Kahn at STC before his retirement. In many ways, his operatic direction of the work spoke to his vision for STC \u2014 grand classical theater that was momentous and epic in scale, but also intimate, probing, and vulnerable. At CSC, Lise Bruneau\u2019s version has been scaled back, but nothing has been lost in doing so. It is now a family drama writ large, one that does not speak to our times and does not need to. It is its own truth, its own myth, its own tragedy, and it is in the questions it asks about our values that it becomes timeless.<\/p>\n

Running Time: Two hours with one 15-minute intermission.<\/p>\n

The Oresteia<\/em><\/strong><\/a> plays through March 10, 2024, at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. Adult tickets start at $55; tickets for youth under 25 start at $28. Subscriptions and tickets can be purchased by calling 410-244-8570, ordering online at ChesapeakeShakespeare.com<\/a>, or visiting the Box Office in person.<\/p>\n

The Oresteia<\/em><\/strong>
\nFreely adapted by Ellen McLaughlin from the tragic trilogy by Aeschylus<\/p>\n

CAST
\n<\/strong>CLYTEMNESTRA – Isabelle Anderson*+
\nIPHIGENIA – Charlotte Molitoris
\nAGAMENON – Stephen Patrick Martin +
\nORESTES – Isaiah Mason Harvey\u25cf
\nCASSANDRA – Emily Erickson
\nELECTRA – Lizzi Albert*
\nCHORUS – Gabriel Alejandro
\nCHORUS – Hana Clarice
\nCHORUS – Surasree Das
\nCHORUS – Lloyd Ekpe\u25cf
\nCHORUS – Alie Karambash
\nCHORUS – Lesley Malin*
\nCHORUS – Dawn Thomas Reidy*\u25cf
\nCHORUS- David Yezzi<\/p>\n

UNDERSTUDIES
\n<\/strong>Lucy Redmon Connell, David Forrer*, Laura Malkus*<\/p>\n

ARTISTIC AND CREATIVE TEAM
\n<\/strong>Director – Lise Bruneau\u25cb+
\nProduction Manager – Sarah Curnoles*
\nStage Manager – Alexis E. Davis*
\nTechnical Director – Dan O’Brien*
\nSet Design – Kathryn Kawecki
\nLighting Design – Katie McCreary*
\nSound Design – Sarah O’Halloran
\nMusic Director – Grace Srinivasan*
\nCostume Design – Kristina Lambdin*
\nProps Artisan – Trey Wise
\nAssistant Director – Lauren Davis*\u25cf
\nProduction Associate – Dawn Thomas Reidy*\u25cf
\nAssistant Stage Manager – Tyrel Brown\u25cf
\nAssociate Technical Director \u2013 Chester Stacy*
\nFight Choreographer – Gerrad Alex Taylor*\u25cf+
\nMovement Advisor – Dance & Bmore
\nBoard Operator – Theodore Sherron III
\nWardrobe Manager – Harper LaBrozzi
\nChild Minder – Vanessa Strickland
\nCovid Safety Officer – Mandy Benedix*
\nSenior House Manager – Pamela Forton*\u25cf\u25cb<\/p>\n

* CSC Company Member
\n+ Actors\u2019 Equity Association
\n\u25cb Stage Directors and Choreographers Society
\n\u25cf Black Classical Acting Ensemble Member<\/p>\n","protected":false},"excerpt":{"rendered":"

Ellen McLaughlin\u2019s beautiful and cathartic adaptation of Aeschylus\u2019 tragic trilogy in a vivid and captivating production directed by Lise Bruneau. 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