By: David de Young
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| Statue of Athena on the set of Orestes - Photo by David de Young |
The action opens with Electra (played by Bethany Ford) folding laundry in the House of Atreus on a sparse yet evocative set designed by Josh Cragun. (Ford, like several actors in this production, reprises her role from Agamemnon.) Also onstage is the chorus, played by Heather Meyer. In the tradition of Greek tragedy, much of the story unfolds by means of soliloquy, with actors addressing the gods or the audience, an audience, which in the final scene serves as jury in the trial of Orestes.
The play’s extensive program notes provide a “story so far” summary, and the chorus recounts the same throughout the play, making the action easy to follow. To make a long story short, however, in part one, Orestes’ mother Clytemnestra, conspiring with her lover Aegisthus, killed his father Agamemnon upon Agamemnon’s return from the Trojan War, and now Orestes, spurred on by Apollo, is out to avenge his father’s death.
Orestes (played by Brian Hesser, who gives an intense and emotive performance) makes his entrance in black jeans and motorcycle boots and shortly thereafter exacts his revenge on Clytemnestra (played by Katherine Kupiecki). Offstage, Orestes also kills Aegisthus, who does not appear in the play. About this time, a bald, strappingly proud Apollo (devilishly presented by Andrew Chambers) makes an entrance.
Scene one morphs into scene two with the Furies (played by Charla Bailey, Emma Gochberg and Ariel Pinkerton) speedily rearranging the pieces of the stage set to become the Temple of Apollo. As they slither around the stage, they hiss, “We haunt those who murder their mothers.” The Furies pursuit of vengeance is the thread that provides the dramatic tension throughout the rest of the play as they seek what they insist is their entitlement, the right to punish those who commit matricide. “For the sake of those who live in darkness, we punish those who live in light,” they say. “We do the work the gods will not admit.”
This natural justice, if you will, of individuals exacting vengeance is balanced by a more civilized and contemporary view of justice, represented by Athena (played by Jessica Wright) who makes her entrance in scene three.
Though this is all serious stuff addressing some of the basic tenets of judicial law and the idea that mercy is required to forestall an endless cycle of bloodletting and violence, the production as a whole remains delightful and entertaining. There are comic moments, and Apollo’s devilish cockiness throughout made me grin. “I am a god,” Apollo boasts at one point, adding later, “I have access to the thunderbolts of Zeus!” Upon first addressing Orestes, Athena says, “Who are you, man who hugs my statue?” as Orestes attempts to hide behind the golden life size figure of the goddess.
Against the wishes of the Furies, who question how a jury of men can possibly judge the crimes of other men, Athena presides over a trial with Apollo acting as Orestes’ attorney and the people of Athens serving as a jury of his peers. When the trial ends with a hung jury, Athena breaks the tie, and though the Furies are unhappy with the verdict, they are placated when Athena rewards them with their own shrine. Orestes blesses the city of Athens, and you’re left with the impression that everyone will now live happily ever after in peace and justice until the end of time. If only it was that easy.
Location Info:
Minneapolis Theater Garage
Artist Info: nimbus theatre
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