The Oresteia, Shakespeare's Globe **

It would be very tempting for someone, when watching the Globe's Oresteia, to compare Aeschylus' play to the revolutionary Almeida production. Rory Mullarky's adaptation was never going to be as good as Icke's but it certainly is a very different production. This production keeps closer to the original in terms of plot, with a prominent chorus and lots of blood. There are many, many flaws. The views expressed in the final segment need updating and a new approach whereas Mullarky does not resolve some of the more problematic views on gender (when the line 'The mother's just a vessel' is played straight', you start to question this adaptation), Clytemnestra's character isn't developed enough and feels one-dimensional at times, and the dry chorus parts miss out the real 'action' that could feel potentially interesting. Despite this, the rhythms and eloquence of the language suits the majesty and vast space of the Globe. Adele Thomas directs a militaristic and at times surreal production with an off-putting atonal score from Mira Calix and a giant penis being paraded out for no apparent reason in bizarre conclusion to events. Hannah Clark's design mixes Greek tradition with a bloody dystopian future rather well and creates a sense of atmosphere that is similar to Titus Andronicus last year, even if it isn't quite as strong. The cast are solid and convincing in their roles. Katy Stephen's makes the most of her part as Clytemnestra whilst Trevor Fox's Aegisthus is a crazy counterpoint to George Irving's aloof Agamemnon. The Chorus, however, are the most impressive here who are at times divided and are one of the most effective Greek choruses I have seen. I feel sorry for the Globe for the clash of Oresteia's this season however, even without the competition, it is a deeply flawed production that struggles to keep it's audience interested for the long running time.