The Agamemnon of Aeschylus
Department of Drama
at Syracuse VPA, Syracuse University
November 6 – November
15, 2016
Upon arriving at the theater, the audience is
confronted, yes confronted, by a stage and set which can only be described as awe-inspiring;
marble, wood, and metal converge in a scenic presentation of a Grecian palace
of epic proportions. Towers of fire on both sides of the stage further
enhance the overall visual effect. This is the audience’s first experience in
the Syracuse VPA production of Agamemnon but much more is to come. The production
is a provocative tour through the senses; sight, sound, smell, and for those
who allow complete suspension of disbelief, the taste of blood.
Agamemnon, produced in 485 B.C. in Athens, is one of Aeschylus’s greatest
tragedies from the Oresteia trilogy. The classic play is one of
depth, human frailty in the face of meddling Gods, difficult sacrifices
believed to be for the greater good, the greatest of betrayals, and,
ultimately, vengeance…if only for a time.
At the curtain, lights dim, live music and
drums swell, and one becomes aware of the scent of ceremonial incense. A
cleansing of the stage ensues in preparation for one of the most powerful
sensorial productions ever seen on this stage. Seamlessly integrated
lighting dances across a formidable set. Colorfully textured costumes
swirl and undulate across a marble floor. Ceremonial masks cover human
faces that prelude as the Greek chorus eloquently foretells of the tragedies to
come. Actors who materially transformed their physical appearances for
the play’s run are conduits for characters created centuries before. Juxtaposed
choreography, is both primitive and elegant, adds depth to an already rich
production. Live music and drums provide context and passion to the victories
and tragedies that are Agamemnon.
Rodney Hudson, Director and Professor in the Department of Drama at Syracuse University said “We all have an idea of what it must be like to lose a daughter, go to war, and to want vengeance. I want to capture a primal quality of theater and offer an opportunity to connect with a deeper level of acting, and also of our being.” Mr. Hudson not only delivers his vision, but virtually overwhelms his audience in his creation of Agamemnon. In the wake of the production, the audience wanders back to ancient Greece to revisit the effects, impact, and experience of Agamemnon. Hudson directs Agamemnon in a highly visual way, conveying a series of captivating and tactile pictures, integrating numerous cultural references which are woven into the universal story of Aeschylus' play.
Rodney Hudson, Director and Professor in the Department of Drama at Syracuse University said “We all have an idea of what it must be like to lose a daughter, go to war, and to want vengeance. I want to capture a primal quality of theater and offer an opportunity to connect with a deeper level of acting, and also of our being.” Mr. Hudson not only delivers his vision, but virtually overwhelms his audience in his creation of Agamemnon. In the wake of the production, the audience wanders back to ancient Greece to revisit the effects, impact, and experience of Agamemnon. Hudson directs Agamemnon in a highly visual way, conveying a series of captivating and tactile pictures, integrating numerous cultural references which are woven into the universal story of Aeschylus' play.
At the play’s outset, a night signal of fire
portends the return of Agamemnon from a decade of war in Troy. Victorious,
the combatant king returns home with his concubine, the slave and prophetess
Cassandra. He is greeted, by a seemingly dutiful Clytemnestra, his wife
and children’s mother who cleverly conceals her plot for vengeance under a
cloak of dedication and honor for her king. Clytemnestra has other plans,
however, for her grief over the slaughter of their daughter, Iphigenia, as a
sacrifice to the Gods has festered in her during the years she has ruled in
Agamemnon’s place. Vengeance and retaliation will be hers for fate will
not be denied. The first great play of Aeschylus’ Oresteia trilogy,
Agamemnon is a visceral and evocative theatrical experience not soon forgotten.
Close to the edge, but just shy of sensory overload, the audience is transported fully and completely to ancient Greece and not returned to the present until what seems like decades, eons, an eternity even. Time may be lost, but the audience’s attention is rapt. The viewers are taken captive by the production, for how else is one to experience the unfolding of the story of Agamemnon, a king of Mycenae, a son of Atreus, and brother of Menelaus? Any interruption to the performance would dilute it so the production is without intermission, as if the audience would deign to leave the edge of their seats as this tale is told.
Close to the edge, but just shy of sensory overload, the audience is transported fully and completely to ancient Greece and not returned to the present until what seems like decades, eons, an eternity even. Time may be lost, but the audience’s attention is rapt. The viewers are taken captive by the production, for how else is one to experience the unfolding of the story of Agamemnon, a king of Mycenae, a son of Atreus, and brother of Menelaus? Any interruption to the performance would dilute it so the production is without intermission, as if the audience would deign to leave the edge of their seats as this tale is told.
Agamemnon, translated by Edith Hamilton and
directed by Rodney Hudson, was also conceived by the worthy talents of Emmett
Van Slyke as composer, choregraphy by Anthony Salatino, and most notably Felix
E. Cochren as production designer. A team of talented SU students and
alumni join the production with Alex Petersen as Associate Scenic Designer,
Kathryn Bailey as Associate Costume Designer, Cory Pattak as Lighting Designer,
Kevin O’connor as Sound Designer, and Emma Ettinger as Stage Manager.
These, in collaboration with a host of supporting crew culminate in a creation
not soon forgotten.
Courtesy of Mike Davis
O Candide-Johnson in the role of Clytemnestra
Among the strong ensemble cast are many noteworthy performances. O Candide-Johnson takes command of the stage and delivers an interpretation of Clytemenestra which chillingly resonates as she anguishes over her daughter’s slaughter in sacrifice to the Gods. Allen Ghavami, typically a slender and statuesque actor, transformed his body for the production into that of a muscled, sinewy warrior. His performance is every bit as strong as his transformed physical being. In the roles of the prophet Calchas, Orestes, and Paris, Daniel Ramirez is a focal point as both actor and dancer as the Chorus and he perform ceremonial movement which further enriches an already deeply textured rendition of Aeschylus’ play. Erin Christine Walsh is virtually possessed by her portrayal of Cassandra; Apollo’s cursed gift to her is fully realized in Ms. Walsh’ powerful performance. Many other actors support a cast that impeccably weave the tale and transform a mere play into a fully enriching experience.
Courtesy of Mike Davis
(center) Daniel Ramirez performs as the prophet Calchas.
This visually rich production overflowing with strong performances leaves the audience stunned not only by the strength of the performance but also by the complete lack of a curtain call in spite of the standing ovation offered by the audience. In this, the tragedy of Agamemnon is underscored and the audience is left wanting even more of the experience of the prior 90 minutes. Agamemnon at Syracuse VPA is not to be missed nor soon forgotten.
