Review: THE ORESTEIA at Bridge Theatre
When Aeschylus’ familial tale of adultery and reciprocal, intergenerational murder was first performed in the Spring of 458BC, it must have resonated with its Athenian audience precisely because the characters whose lives fall apart, are neither wholly virtuous nor wickedly evil. Instead, circumstances and situations conspire to present a possible outcome for our own fallible lives should misfortune decide to pay a visit.
Mary-Louise Parker, David Morrissey, and John Macmillan in The Oresteia at The Bridge Theatre. Credit Johan Persson
One of the most hotly anticipated theatre productions of this year, THE ORESTEIA opened at the Bridge Theatre last evening. Played-out on a magnificent glass revolve box set, the stage design is akin to that deployed in the extraordinary Lehman Trilogy or more recently, the National’s Phaedra from early 2023 which, like The Oresteia, was also written and directed by Greek tragedian wunderkind Simon Stone. Here, Lizzie Clachan assumes responsibility (as she did with Stones’ adaptation of The Lady From the Sea) for creating a visually arresting backdrop on which the actors deliver the goods. And boy what a blisteringly good cast has been assembled for this modernised, discordant and jarring exploration of what it means to live as a family in the modern age.
Montie (Mary-Louise Parker) is married to Christopher (David Morrissey) whose financial worries are beginning to overwhelm him beneath a veneer of affluence and success. Pressure too is mounting on the technology firm he runs with his brother (Lloyd Hutchinson) when traceable components are found in the debris sites of various conflicts which have suffered heavy civilian casualties. His activist daughter is a high profile group member with an online following who breaks into the company HQ. During the fall-out, she demands of her father a reason to respect him, not only to be a loving daughter. Her death heralds a vortex of recrimination, vengeance, contempt and the unraveling of a dynasty.
Moving back and forth through key years of the decade between 2016 and 2026 we gradually piece together the events which shape the family members, notably Augie (Tom Glynn-Carney) and his remaining sister Alice (the remarkable Rosie Sheehy) and those who move in their orbit Jerome (John Macmillan), Lorenzo (Archie Madekwe), Chandra (Rakhee Thakrar) and Jenny/Letitia (Alyth Ross). Witnessing their blend of familiar interplay is a true joy, enhanced by Stone’s punchy dialogue which is by turns acerbic and mollifying.
The final result is a truly epic and visually stunning achievement, which is sure to be showered with plaudits and gongs come awards season. Modern tragedies are rarely delivered with such vividness and élan. Despite (or perhaps because of) the 3 hours and 30 mins running time (which includes two 15 min intervals), I urge you to secure tickets and immerse yourself at the earliest opportunity.
Continues at Bridge Theatre until 19th September.
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