Mickey Solis and Annika Boras in Orestes, Part 2 of CSC's production of An Oresteia. (Joan Marcus)
"Orestes" takes place six days after the title character (Mickey Solis) murdered his mother Klytaimestra, in retaliation for her killing his father. However, almost immediately after dispatching his mom, Orestes has fallen into a kind of delirium as the cries of "mother-killer" haunt his psyche. Currently imprisoned at home, he and his sister Elektra (Annika Boris) who helped him with his plan, wait to see if they will be sentenced to either banishment or death by stoning.
Leading the crusade against Orestes is Tyndareos (Christopher McCann), father of Klytaimestra. Tyndareos, while he despises his daughter for what she did, feels Orestes' actions are no better. (Some assert that the killing of a mother is not nearly as despicable as the killing of a father.)
Tyndareos is also father of Helen (David Neumann), whose abduction set in motion the Trojan War. Meanwhile, Orestes' pleas to Menelaos (Steve Mellor) for his help fall on deaf ears. Menelaos, husband of Helen, is more a politician than a soldier, and he can see perfectly well the way the wind is blowing in this matter.
Just as all seems lost for Orestes and his sister, his loyal friend Pylades (Jess Barbagallo) comes up with a plan to slay Helen and then hold Menelaos' child Hermione (Karinne Keithley) in exchange for their freedom. If they are not released, then they will die in a blaze of glory. (But if they live Pylades gets to marry Elektra.)
Where "Agamemnon" and "Electra" follow a traditional route, heavy on the commentary and messages of retribution and prophecy, "Orestes" takes a much more irreverent look at the subject. Switching easily from rhyming couplets and the original text to more modern day inflections, not to mention the use of a phonograph, microphones, and part of an oratory delivered musically by a eunuch in a sort of chanteuse act, these situations combine to give the play a sort of timeless feel.
There's also some interesting choreography in some of the scenes, with the actors breaking into various dance movements before and after delivering their lines. This also serves to add more than a dash of humor to the proceedings. (Good work by dance captain David Neumann.)
These additions may upset purists, but it also serves to help make the proceeding quite enjoyable without disrupting the work's overall message--said message being that man is basically a violent creature ruled by emotions and can find excuse after excuse to justify his crimes. It also quite often requires divine intervention, in this case the god Apollo (Eric Dyer), to bring about an end to the cycle of destruction.
In another departure from the first two works, both of which had clearly defined lead and supporting roles, "Orestes" is much more of an ensemble piece, each person giving their perspective on the various events and then, more often than not, fading into the background to let the next person move the story along.
Solis makes a good Orestes, a man firmly believing his actions were correct and true, and who is willing to kill again in order to survive. Mellor is fine as Menelaos, someone whose outward expression almost never changes, despite his ever-changing circumstances. (This being the mark of a true politician.) McCann works well as Tyndareos, a man seeking vengeance for the death of his daughter yet not mourn her passing but determined that the letter of the law be followed when it comes to dispensing justice. Also enjoyable is Dyer as Apollo, who helps tie up loose ends and engages in a bit of last-minute matchmaking.
Paul Lazar's direction is excellent, nicely bringing the various styles of the piece together to form a cohesive and enjoyable whole. Set by Riccardo Hernandez works well, as does the costumes by Oana Botez-Ban, lighting by Martui Evans and original music and sound design by Christian Frederickson.
Also in the cast are is Dan Hurlin.
For the review of "An Oresteia" Part 1, see http://www.theepochtimes.com/n2/content/view/14651/
An Oresteia (Part Two)
Classic Stage Company
136 East 13th Street
Tickets: 212-352-3101 or www.classicstage.org
Running Time: Approximately 95 minutes (no intermission)
Closes: April 19
Judd Hollander is the New York correspondent for the London publication The Stage.
