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Greek tragedy emerges as the most blatantly theatrical.

Saturday May 05, 2001.     By Joseph Bowen

Theater Feed

European Repertory Company
Performed at Baird Hall, 615 W. Wellington
Tickets: 312-248-0577
Open run

Of all dramatic literature, Greek tragedy emerges as the most blatantly theatrical. That was true in ancient Greece, and it is especially true of Steven Berkoff's adaptation of Aeschylus' "Agamemnon". Aeschylus' 458 B.C. "Orestia" trilogy consists of the plays "Agamemnon", "The Choephoroe" (aka "The Libation Bearers"), and "The Eumenides". The trilogy begins with the story of Agamemnon, king of Argos, who has gone off to the Trojan War to rescue Helen from Paris, only to brutally massacre the citizens of Troy. Zeus then demands a sacrifice to atone for his actions. To satisfy the Gods, Agamemnon kills his daughter Iphegenia. The news of this act has driven Agamemnon's wife Clytemnestra into a vengeful rage, and with her lover Aegisthus, she plans to avenge her daughter's death. This murder is also revenge for Aegisthus, whose father was fed the flesh of two of his children by his brother Atreus, Agamemnon's father. Agamemnon returns home with Cassandra, daughter of Priam, king of Troy, who is carrying his child. Clytemnestra kills both Agamemnon and Cassandra.

Steven Berkoff has taken this great play and made it more vicious and at the same time more accessible than the original. This production by European Repertory is a highly stylized, atmospheric, gripping experience which begins when you walk into the theater. You are in a large open space, the walls of which are metal sheets attached with rivets. Three gutted pigs made of wire hung from the ceiling. Two towers of metal trash cans form a Greek column proscenium, and three piles of tires serve as all purpose props and set pieces. At center, a large Red door, behind which awaits Agamemnon's death. Ominous organ music greets you.

Berkoff's adaptation begins with Aegisthus speaking as his father at the banquet eating his children. This haunting image sets the tone for the production, where this fine company of actors takes over. The three member chorus become narrators, citizens of Troy, ships (the creaking of the ship is accomplished by two of the chorus rolling back and forth on tires), citizens of Argos, and a whole lot more. The main characters are Clytemnestra, a woman whose raging vengeance is sexual in its manifestation. Aegisthus, whose contempt for Agamemnon is only very loosely veiled; the Watchman, who is also given the duty of heralding Agamemnon's return, is manic in his explanation of Agamemnon's brutality in Troy; Cassandra, who foresees her own death, and Agamemnon, who seems to be unaware of the brutality of his actions ("I am a simple man", he says).

Director Dale Goulding has created a world dominated by murder and revenge, even though this play has a decidedly anti-war theme. The opening speech, lit only by a flashlight from below, is accompanied by a constant hiss, which made me think of a ward for the criminally insane. Clytemnestra's rage overpowers Agamemnon's weakness, and makes his death almost a pre-ordained event. "Blood will have blood" becomes a war cry that builds until finally everyone in the company shouts it. Movement Director Karen Tarjan has added a slow-motion malevolence to Goulding's world. The stylized movements of the Chorus aptly enhance the atomsphere of the play.

The cast is marvelous, most notably Janet Hayatshai as Clytemnestra, dressed in black tattered clothing, seething with rage, her lipstick drawn down to a frown which looked to me like the fangs of a vampire; Tim Kough as Aegisthus, led to murder by his vengeance; and Chuck Stubbins and Lisel Gorell as Chorus, whose concentration and commitment to every moment is simply wonderful. The one problem is Matt Yde's Agamemnon. When he first appears on stage, his Agamemnon is not the man capable of the kinds of atrocities that he has committed. It's only when he reaches his last scene, when his exhaustion gets the better of him that he seems comfortable. All in all, however, this production of "Agamemnon" is a completely involving experience. I would highly recommend a visit to this show.

This production is an open run, and will run in rotating repertory with the first production of their next season.