The Oresteia

Theatre Paradok’s Oresteia condenses the lengthy three-play text into two hours, with a greater focus on Agamemnon than The Libation Bearers or The Eumenides.

Stand-out performances included Becka Wolfe as a suitably savage, writhing Cassandra and Dylan Read's strong turn portraying the varied complexities of Orestes. The tenderness of his relationship with Electra (Jenny MacDonald) was particularly touching. However, these were offset by a bland Clytaemnestra (Lucie Hinnie) and, at times, a decidedly nervous Agamemnon (Alex Duffy), neither of whom ever fully conveyed the power of their positions, nor the horror of their actions. John Sannaee lurched, mumbled and held his arm crooked, but failed to convince as Aegisthus.

The highly stylised chorus changed markedly with each play. Agamemnon's chorus of old men was hampered greatly by the fact that none of them were old and most of them weren't men. Their physicality showed imagination, energy and commitment; however the decision to characterise every chorus member detracts from the main storyline and lends the principle characters a tagged-on feel. Similarly, a smaller number of chorus-members would have had greater effect. The second chorus of stone graveyard angels were jerky where the aim was to be graceful, but the third chorus, this time of furies, showed strength and real viciousness which was artfully balanced by some skilful choreography; Chorus leader Michael Walsh performing with conviction and talent.

Lighting and sound were used effectively; the usage of a single light source—be it a candle, a spotlight or a torch—forming a powerful recurring motif. At times, excessive use of darkness rendered faces unfortunately invisible and unreadable. The live music is handled skilfully and elegantly, and proves a great complement to the action. The simple, well-designed costumes focus on representative colour combinations—red for Greeks, blue for Trojans, purple for the divine—without trying to pitch the action unnecessarily into any particular time period. The use of masks for the second chorus, however, led to muffled deliveries.

While this performance lacks no imagination, it is hampered by its own ambition. A smaller cast with less to do would perhaps convey the story more effectively and with more attention to detail.